Notes
1Most notable amongst these are, of course, Alfred Hitchcock's Jamaica Inn (1939), Rebecca (1940) and The Birds (1963), and Nicolas Roeg's Don't Look Now (1973).
2For more on the collection of du Maurier papers held at the University of Exeter, see Charlotte Berry and Jessica Gardner, ‘Who I Am: Adventures in the du Maurier Family Archive’, in Helen Taylor (ed.), The Daphne du Maurier Companion, London: Virago 2007.
3These newly commissioned introductions are published together in Helen Taylor (ed.), The Daphne du Maurier Companion (2007).
4Ella Westland, Reading Daphne: A Guide to the Writing of Daphne du Maurier for Readers and Book Groups, Truro: Truran 2007.
5Richard Kelly, Daphne du Maurier, Boston: Twayne 1987, pp. 140–2.
6Margaret Forster, Daphne du Maurier, London: Chatto and Windus 1993.
7Alison Light, Forever England: Femininity, Literature and Conservatism between the Wars, London: Routledge 1991, pp. 164, 166. See also Alison Light, ‘“Returning to Manderley”: Romance Fiction, Female Sexuality and Class’, Feminist Review 16, 1984, pp. 7–25.
8Avril Horner and Sue Zlosnik, Daphne du Maurier: Writing, Identity and the Gothic Imagination, London: Macmillan 1998, p. 188.
9Nina Auerbach, Daphne du Maurier: Haunted Heiress, Philadelphia: University of Pennsylvania Press 1999, pp. 14, 17, 18.
10For a detailed bibliography of du Maurier scholarship and adaptation see Sunie Fletcher, ‘Further Reading and Filmography’, in Helen Taylor (ed.), The Daphne du Maurier Companion (2007).