A Haunted House With No Ghost - Rebecca Chapters 8-11

Daphne du Maurier's Novel Continues To Enchant & Enthrall

Jan 08, 2025

Summary: The Narrator becomes more familiar with Manderley and its rules, both spoken and unspoken, as she discovers the true reach of Rebecca’s legacy.

Chapter 8

Rebecca is a book about many things, but for anyone who has ever felt a sense of uncertainty or anxiety regarding how to act or behave around certain people, it’s nothing short of a horrifyingly vivid mirror. The way in which the Narrator’s internal dialogue reflects her uncertainty regarding everything from how to speak to how to hold her hands is excruciating, if only because some of us can see ourselves reflected in her to such a strong degree.

Her concerns of how much food might be wasted on a daily basis are telling of her background and uncertain footing in her new environs. She becomes introspective and paranoid (‘Perhaps they were laughing about me,’). Manderley seems cavernous and no one has properly shown the Narrator around, so she gets lost, making missteps both physically and in terms of conduct.

‘My faux-pas was so palpably obvious, so idiotic and unpardonable, that to ignore it would show me to be an even greater fool, if possible, than I was already.’

This is the chapter in which all of her anticipation manifests, and her self-doubt grows as she feels overshadowed by Rebecca’s legacy. Mrs. Danvers’ subtle manipulation underscores the power imbalance in the household, and Rebecca's belongings continually symbolise the inescapable nature of her presence.

The Narrator’s exploration of the house reveals Rebecca's personal items and memories, reinforcing Rebecca's dominance in the household. Maxim is welcoming, but also incredibly businesslike and cold with the Narrator. A caustic tension arises between them when she inadvertently compares herself to Rebecca.

Themes of identity and insecurity, power and control, along with memory and the past permeate this chapter, as we all settle into the environs of Manderley.

Chapter 9

This chapter introduces one of my favourite secondary characters, Maxim’s sister Beatrice, despite her being a little cool at first. The Narrator, however, is so terrified of meeting anyone that she contemplates jumping out the window to avoid any kind of forced interaction, such is her concern and lack of self-worth at the time of their arrival.

As she searches the west wing, she enters Rebecca’s old bedroom and is confronted by Mrs. Danvers, who graduates from condescending to threatening in her disdain and refusal to accept the Narrator as a part of the household.

‘I felt guilty and ashamed, as though I had been caught trespassing, and I felt the tell-tale colour come up into my face.’

This is a tense and uncomfortable sequence, which does nothing to alleviate the Narrator’s sense of inferiority.

Beatrice is curt, but pleasant, as is her husband Giles. We also meet Frank Crawley, who is one of Maxim’s primary confidantes and business associates. These will all serve their purpose as part of the story as it progresses, also acting as somewhat of a buffer between the Narrator and the more hostile elements of Manderley.

Maxim seems distant and distracted. He has still not offered any signs of true tenderness or love. The chapter ends with Beatrice, in her characteristic, matter-of-fact way, telling the Narrator ‘You see, you are so very different to Rebecca,’ and this seems to be the aspect which every character is dealing with at present, none more than the Narrator herself.

Chapter 10

Mystery and suspense increase as a row between Maxim and the Narrator, combined with Jasper being a little scamp, bring her to the nearby beach, where she discovers Rebecca’s beach house and meets Ben, a local man who is deemed as being intellectually stunted. He speaks of Rebecca and, for the first time in the Narrator’s experience, it is not in a complimentary tone. This is an initial insight into a potential hidden side of the towering figure.

The encounter with Ben adds an element of intrigue and unease, hinting at deeper secrets surrounding Rebecca’s life and death. This creates a new layer of intrigue and uncertainty, but could also be written off as delusion. Du Maurier plays this very well indeed.

"She’s gone in the sea, ain’t she? She won’t come back no more."

Ben’s words suggest an ominous link between Rebecca and the ocean, foreshadowing revelations about her fate.

Chapter 11

Upon reconciling with Maxim, he is nothing short of haunted. ‘God, what a fool I was to come back,’ he states, creating a palpable sense of guilt within the Narrator. She becomes over-cautious about every word she utters.

‘I was wrong of course, morbid, stupid; this was the hyper-sensitive behaviour of a neurotic, not the normal happy self I knew myself to be.’

This indicates that, in addition to becoming physically lost several times in Manderley, she is now losing her very sense of self.

There is a dinner party hosted by Beatrice and Giles, where she feels awkward and out of place as ever. She meets the Bishop’s wife, who presses her about hosting parties, as Rebecca used to.

Frank provides both support and exposition, as he answers many of the Narrator’s questions, including details of Rebecca’s death, and the identification of her body.

The facade of social preconceptions and expectations remains a constant theme, but is overshadowed by the excitement surrounding the knowledge we acquire regarding Rebecca and her mysterious death.

It shouldn’t take long to reach this stage and you should now be well over 100 pages into the book (well done). The remainder will fly by, as du Maurier feeds us with ongoing confrontations, revelations and puzzles to unpack.

It’s a joy to see how readable this book remains, almost a century onward. It’s so clipped and cinematic, but remains lush and rewarding, its prose considered and expertly structured.

I’ve been reading a wonderful book about Rebecca’s influence and creation. I’ll share more with you about that very soon.