The Rebecca Notebook by Daphne du Maurier: A Twilight Collection
I have never read 'Rebecca' by Daphne du Maurier but have watched the 1940 movie adaptation directed by Hitchcock, his first Hollywood movie. Though I loved the gothic setting and the suspense, I consider it a little bit behind 'Rear Window' or 'Psycho' as a cinematic endeavor. While I was browsing a stack of old paperbacks that were priced outrageously cheap in a used book store, I came upon the book 'The Rebecca Notebook and Other Memories' by the author. I picked it because it was the only one that I could find by someone whose name was familiar.
The book consists of a reproduction of the workbook used by the writer while writing the novel, an epilogue that wasn't included in the novel, some autobiographical pieces, and even a few poems. It is like the meal that someone quickly puts together with the leftover vegetables available in the refrigerator on a rainy day. Such books are commonplace. When celebrated writers reach their twilight, every uncollected knick-knack they wrote in their past attains value. For publishers, it's quick money, but for readers, it's always a hit-or-miss affair.
The actual notebook was forgotten by the writer, but when someone sued the movie adaptation for plagiarism, it had to be presented in court. After that, she gifted it to her American publisher, and decades later, the publisher's daughter returned it. To the readers who have read 'Rebecca' and loved it, it would be interesting to know the process behind its writing and to compare it with the final outcome. I was interested because it demonstrated how the novel evolved. The writer often scribbles her intentions about what to do with a character, how a chapter has to be set, or what the reader should feel. Though not very detailed, it can be useful for budding writers of novels, plays, or movies to get some insight into the process of writing.
I actually loved the epilogue. Though I haven't read the novel, I've watched the movie, and with the notebook giving a fair idea of the plot, I could sense why it wasn't included in the final draft. The epilogue is addressed to a second person, which I believe is a variation from the narrative style of the main plot. It's a sombre piece, filled with regret, nostalgia, grief, and acceptance. It's beautiful writing, but after the crashing halt (both literally and figuratively) of the climax, the reader may feel like they are watching the settling of tea leaves in the pot while reading the epilogue.
The titular notebook and the epilogue take up only a quarter of the short book. Most of the remaining length is occupied by eleven autobiographical pieces. What shines through is the writer's brilliant command of prose. But some of the pieces, especially the social commentary, are dated for the time I read them, and most probably for the time they were written as well. I immensely loved the first two pieces about the lives of her grandfather, who was an artist, and her father, who was an actor. These writings are very warm, inspiring, and informative about the times. But from there, it gradually goes downhill. The topics become drier, making it harder to make any kind of connection with them. No wonder they remained ignored for decades. The less said about the three poems that close the book, the better.