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The Scapegoat de Daphne Du Maurier
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The Scapegoat (1957 original; edició 2000)

de Daphne Du Maurier (Autor)

MembresRessenyesPopularitatValoració mitjanaMencions
1,3994411,407 (3.93)186
Hailed by the New York Times as a masterpiece of "artfully compulsive storytelling," The Scapegoat brings us Daphne du Maurier at the very top of her form.
Membre:SuzieEN
Títol:The Scapegoat
Autors:Daphne Du Maurier (Autor)
Informació:University of Pennsylvania Press (2000), 352 pages
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:Cap

Informació de l'obra

The Scapegoat de Daphne du Maurier (1957)

  1. 20
    The House on the Strand de Daphne Du Maurier (BonnieJune54)
    BonnieJune54: The main characters are similar and they are both going through dual lives.
  2. 00
    Don't Look Now / Not After Midnight / A Border-Line Case / The Way of the Cross / The Breakthrough de Daphne du Maurier (jigarpatel)
    jigarpatel: More psychological thrillers, expertly adapted to the short story format (my review).
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» Mira també 186 mencions

Es mostren 1-5 de 44 (següent | mostra-les totes)
If you have ever read any of Daphne du Maurier’s novels, you will immediately recognize what I mean when I say the narrator here is another of her identity-free individuals. Like the new Mrs. De Winter in Rebecca or the tour guide brother in Flight of the Falcon, this narrator is a person without any sense of importance, sense of self or sense of his own value. He is so unloved and disconnected that he can assume another man’s life and involve himself immediately in the other man’s world to the point of burying himself inside the other man’s skin.

A scapegoat: a person who is blamed for the wrongdoings, mistakes, or faults of others. What an inspired title for Daphne du Maurier’s thrilling novel of exchanged identity. When John, an Englishman whose area of expertise is France, meets his doppelganger, the Comte Jean de Gue, he finds himself unexpectedly tricked into trading places. He goes from having no life or ties to being responsible for the complexities of a chateaux and the lives that revolve around it, and he finds out that the life he has assumed is one of a dubious and sometimes cruel individual.

"One had no right to play with other people's lives. One should not interfere with their emotions. A word, a look, a smile, a frown, did something to another human being, waking response or aversion, and a web was woven which had no beginning and no end, spreading outward and inward too, merging, entangling, so that the struggle of one depended on the struggle of the other."

As our narrator uncovers the secrets of Jean’s life, he begins to insert his own sensibilities into the lives he controls. But does he see these people as they are, or does he supply his on version of them? Does he help them, or does he simply confuse and disrupt their lives? What would they think if they knew he was just a stranger playing at being their son, husband, father, brother, lover or master? And, what does he discover about himself along the way?

Nobody writes romantic gothic fiction like du Maurier. She knows how to make something subtle important. She has great command of the psychological thriller and weaves her tales to that you are never far from the edge of your seat. She writes descriptions that turn buildings into characters, and characters that emerge as real people.

If you have never read du Maurier, you are missing one of the great writers. If you have not read this book, you are missing a treat. ( )
  mattorsara | Aug 11, 2022 |
John, un profesor inglés de Historia, soltero y de mediana edad, pasa, como todos los años, sus vacaciones en Francia. En Le Mans se encuentra por casualidad con un tipo que es físicamente igual a él. Asombrados por el parecido, se emborrachan juntos y se cuentan sus desdichas. John le habla de su vida solitaria y sin sentido y el otro –el conde Jean Le Gué– le deja entrever que su problema es exactamente el contrario: «Poseo demasiadas cosas. Cosas humanas». A la mañana siguiente, John despierta en un hotel de mala muerte, sus cosas han sido sustituidas por las del conde y un solícito chófer le espera para llevarle a casa. La casa resulta ser un antiguo château con foso, torreones y gárgolas… y es así como se encuentra de pronto al frente de una familia escabrosa, un negocio ruinoso y una nueva identidad siempre en peligro de ser desenmascarada.

Daphne du Maurier siempre fue maestra del punto de vista y una virtuosa del arte de la intriga y el incidente. En El chivo expiatorio (1957), construyó una novela compleja, llena de suspense y ambigüedades morales, a partir de una de sus situaciones características: la llegada de un extraño a una mansión y su arduo proceso de adaptación a un ambiente de viejos odios, deseos malignos, sospechas y secretos de los tiempos de la ocupación nazi, todo ello contado por el propio extraño. El libro desarrolla asimismo un moderno discurso sobre la identidad como creación de los deseos y expectativas de los otros.
  bibliotecayamaguchi | Oct 5, 2021 |
The story is very involved and meticulously told. Every mannerism, glance and even photograph is imbued with tremendous meaning. Having read a few novels of this era, this seems to be something endemic to the period and not unique to this author.

The story is intriguing, if not terribly dramatic. I have a feeling there was an intent to dramatize a grand moral dilemma, but it doesn't really have that punch. ( )
  grandpahobo | Sep 21, 2021 |
Daphne du Maurier's suspenseful tale of doppelganger identity-switching set in post-World War Two France held my attention from beginning to end. The main character/narrator is John (whose last name is never revealed), who assumes the life of a look-alike French aristocratic businessman after being drugged in a hotel room in Le Mans by the Count, Jean de Gué. Jean has taken John's identity, clothes, and auto and disappeared, leaving John to assume control of the Frenchman's family, estate, and business.

The members of Jean's family and associates are viewed through John's eyes, and although he only spends a week amongst them, all are changed by his presence. (John is a professor of French history in England and speaks French fluently, and, improbably, no one realizes he is not Jean, so an ability to suspend belief about this lack of perception is necessary).

One passage at the beginning of the book (page 66 of my edition)illustrates that this is not simply a story about switched identities, but a story about how one's identity and actions affect those around us, "One had no right to play about with people's lives. One should not interfere with their emotions. A word, a look, a smile, a frown, did something to another human being, waking response or aversion, and a web is woven which had no beginning and no end, spreading outward and inward too, merging, entangling, so that the struggle of one depended on the struggle of the other."

John's internal life before the switch was falling apart -- he felt he was a failure, a non-entity -- and he was contemplating entering a retreat in a monastery near Le Mans in order to come to terms with his depression and thoughts of suicide. He understands after his week as Jean de Gué that his actions can change other's lives. Sadly, although he improves the relationships Jean had with others, he realizes, though he has discovered what it is to love, and achieve a measure of success, his circumstances haven't changed, and he is still only John and not Jean de Gué.

The end of the story can be seen as disappointing, or possibly as the conclusion of a study of the nature of identity and self-discovery. ( )
  janoorani24 | May 25, 2021 |
This book is excellent. You do have to suspend disbelief that these two people look THAT much alike so that everyone is deceived when they switch places, but the story telling is very good. I like this one as much as Rebecca. ( )
  Chica3000 | Dec 11, 2020 |
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Nom de l'autorCàrrecTipus d'autorObra?Estat
du Maurier, Daphneautor primaritotes les edicionsconfirmat
Appignanesi, LisaIntroduccióautor secundarialgunes edicionsconfirmat
Cardi, Alma ReeseDissenyadorautor secundarialgunes edicionsconfirmat
Scarpi, N. O.Traductorautor secundarialgunes edicionsconfirmat
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The Scapegoat, Daphe du Maurier's eleventh novel, first appeared in 1957.
I left the car by the side of the cathedral, and then walked down the steps into the Place des Jacobins.
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Hailed by the New York Times as a masterpiece of "artfully compulsive storytelling," The Scapegoat brings us Daphne du Maurier at the very top of her form.

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