Virago (2004)
I'm sorry to say, but Daphne du Maurier's eleventh novel, The Scapegoat (1957), isn't one I'll be adding to my list of favourite books (not even my list of favourite books by her).
For whilst Lisa Appignanesi writes in her Introduction to the work that it has "terse economy of style [and] great literary sophistication" [v], I'm afraid I found it rather tedious at times and - despite the great promise of its premise to do with the performance of identity and the struggle to consciously maintain a lie - philosophically disappointing.
Just to be clear: I loved the first couple of chapters: I loved the final three chapters. It was the twenty-odd chapters in between that I had problems with ...
And one of the main problems was the feeble and depressing protagonist-narrator; a character in stark contrast to his fascinating French double.* One wishes the novel had been more about the latter and less about the former's attempt to live (and redeem) Jean's de Gué's life.
In addition, the other characters in the book - particularly the family members - are also extremely unsympathetic. The English imposter might learn to love them, but I'm afraid Monsieur le Comte is right:
(i) His mother, an obese morphine addict, is the most egotistical, the most rapacious, and the most monstrous of old women ...
(ii) His younger brother, Paul, is a painfully inferior and provincial oaf with a "thoroughly disagreeable personality" [355]...
(iii) His sister-in-law (and lover), Renée, might have an enchanting body, but possesses "a mind like an empty box" [355] ...
(iv) His sister, Blanche, is "so twisted with repressed sex and frustrated passion" [355] that she has become fanatically pious as well as resentful ...
(v) And, finally, his daughter, Marie-Noel, is an affected and manipulative little brat who puts on an act of sweetness and innocence, whilst really just wanting to be the centre of attention.
For whilst Lisa Appignanesi writes in her Introduction to the work that it has "terse economy of style [and] great literary sophistication" [v], I'm afraid I found it rather tedious at times and - despite the great promise of its premise to do with the performance of identity and the struggle to consciously maintain a lie - philosophically disappointing.
Just to be clear: I loved the first couple of chapters: I loved the final three chapters. It was the twenty-odd chapters in between that I had problems with ...
And one of the main problems was the feeble and depressing protagonist-narrator; a character in stark contrast to his fascinating French double.* One wishes the novel had been more about the latter and less about the former's attempt to live (and redeem) Jean's de Gué's life.
In addition, the other characters in the book - particularly the family members - are also extremely unsympathetic. The English imposter might learn to love them, but I'm afraid Monsieur le Comte is right:
(i) His mother, an obese morphine addict, is the most egotistical, the most rapacious, and the most monstrous of old women ...
(ii) His younger brother, Paul, is a painfully inferior and provincial oaf with a "thoroughly disagreeable personality" [355]...
(iii) His sister-in-law (and lover), Renée, might have an enchanting body, but possesses "a mind like an empty box" [355] ...
(iv) His sister, Blanche, is "so twisted with repressed sex and frustrated passion" [355] that she has become fanatically pious as well as resentful ...
(v) And, finally, his daughter, Marie-Noel, is an affected and manipulative little brat who puts on an act of sweetness and innocence, whilst really just wanting to be the centre of attention.
Of course, there's Béla, who seems a good sort (cooks like an angel; fucks like a beast) and she performs an interesting role in the novel. As understanding and compassionate as she is, however, I suspect that even she was glad to see the back of a self-harming substitute with suicidal fantasies, and keenly awaited the return of the man who had been her lover for three years.
He may lack tendresse, but at least Jean de Gué knows who he is, what he wants, and how to whistle for his dog.
Notes
*I'm assuming that there are two actual characters - English John and Jean de Gué - and not two distinct personalities belonging to the same schizophrenic subject, although, in many ways, this would be more believable and more interesting and I rather wish du Maurier had openly explored what is now referrred to as dissociative identity disorder. She might even have given us a dramatic Fight Club moment when it's revealed that the Narrator is Tyler Durden and that it takes a Marla Singer - or, in this case, a Béla - to enable John to know the true from the false and realise that he's Dr Jekyll and Mr Jackass, i.e., somebody with deep seated problems for which he should seek professional help. See Fight Club (1999), dir. David Fincher, starring Brad Pitt, Edward Norton, and Helena Bonham Carter, based on the 1996 novel of the same title by Chuck Palahniuk.
Daphne du Maurier, The Scapegoat, with an Introduction by Lisa Appignanesi, (Virago Press, 2004). The page numbers given in the post refer to this edition.
For another post on The Scapegoat, click here.
Bonus: to watch the trailer for the 1959 film adaptation dir. Robert Hamer, starring Alec Guiness, click here.
For another post on The Scapegoat, click here.
Bonus: to watch the trailer for the 1959 film adaptation dir. Robert Hamer, starring Alec Guiness, click here.
