THE KEY TO REBECCA PDF
THE KEY TO REBECCA KEN FOLLETT To ROBIN MCGIBBON "Our spy in Cairo is the greatest hero of them all." -ERWIN ROMMEL. Get news about Historical Fiction books, authors, and more. Ken Follett delivers the surefire suspense readers have come to expect.”. Books for the Holidays: Best of the. His code name: "The Sphinx." His mission: to send Rommel's advancing army the secrets that would unlock the doors to Cairo and the.
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The Key to Rebecca by Ken Follett, , available at Book Depository with free delivery worldwide. Synopsis. The Key to Rebecca is a gripping thriller set during the Second World War, from the author of Eye of the Needle, Ken Follett. 'Our spy. Download The Key to Rebecca Download at: resourceone.info? book=BEFB3M [PDF] Download The Key to Rebecca Ebook.
The fact that the story begins and ends with dreams reinforces the theme that the past cannot be escaped; it will find a way to haunt a guilty person, if only in dreams.
The Key to Rebecca + The Hammer of Eden (Ken Follet Omnibus) [Read] Full Ebook
They say he never talks about it, never mentions her name. She was drowned you know, in a bay near Manderley. Van Hopper , Chapter 4 In this quotation, the narrator recalls with disdain the gossiping of her employer, Mrs. Van Hopper, who is describing the popular impression of the recently bereft Maxim. The quote conveys the common assumption that the recent widower has been devastated by loss while subtly hinting at something darker beneath his emotions.
I wish I was a woman of about thirty-six dressed in black satin with a string of pearls.
The Key to Rebecca Summary & Study Guide Description
This quotation encapsulates the narrator's identity crisis—she wishes she were someone else, a member of a higher social class. You haven't flattered yourself he's in love with you?
Van Hopper , Chapter 6 This quotation typifies the way the narrator is treated—or imagines being treated—by many people in the novel. This sort of mean-spirited sniping helps explain why the narrator has so many doubts about her worthiness and place in the life of Maxim. It also speaks to the identity theme.
As an orphan of questionable social standing, the narrator tolerates belittling comments instead of calling attention to them. It illustrates the narrator's deep insecurity in her role as the new Mrs.
I would always know when she had been before me in a room. There would be a little whiff of her scent in the room.
Danvers , Chapter 14 Here Mrs. Danvers guides the narrator around the room of Rebecca, which has been kept essentially untouched since her death. The quotation reflects the obsession of the housekeeper with her dead mistress, the deep devotion to her memory, and the intoxicating effect of her presence on all the inhabitants of Manderley.
I wondered why On the other hand, however, they derive their spellbinding force from the suggestion of horror which they contain.
It has often been observed by critics that in the first stage of the Thornfield drama, Rochester with his mysterious and seemingly sulphurous past life shares some characteristics of the Gothic villain, as the vicious lecherous and greedy seducer of women; this same image is built by the narrator of Rebecca when Max De Winter intimates in Monte Carlo that he had wished to kill his wife.
The reader can thereby realize that, like Jane Eyre, and beyond appearances, Rebecca is not so much a story of romantic love as one of initiation; its deeper issue also concerns the unveiling of a mystery, the mystery of the house and the mystery of the Master.
Progress is sought in both cases by the innocent heroine who is driven by curiosity: what is it that Thornfield, Manderley and their respective owners hide with such intent and what is the secret of their lives? In a striking parallel, considering the time gap between the two novels, both men construct their beloved into a figure of innocence and purity in which they are determined to keep her enclosed.
So at bottom, the situations are identical, as far as both heroines are barred access to the knowledge of human experience to which the Masters only possess the key. Rebecca raises to explicitness what is only obliquely suggested and hinted at in Jane Eyre, that is the sexual nature of such knowledge.
From the ambiguous figure of Rochester, it seems that Du Maurier has removed the whole sexually attractive force to keep only the plain patriarchal power which he tries to enforce upon Jane.
She is everything that Jane cannot accept about herself as well as a monitory figure of the risks entailed by the unleashing of passion and instinct.
Novels .pdf "The Key to Rebecca" and "The Ties That Bind" Jayne Ann Krentz
This latter quality is connected both with a capacity to control the lives of others as well as her own, and with an extremely active and diverse sexuality, as her affair with Jack Favell, along with her ambiguous, half-lesbian bond with Mrs Danvers, suggests.
Sexually voracious and dominant, attractive and repulsive at the same time, Rebecca stands forth as a true avatar of the Fatal Woman. That she embodies the conjunction of Eros and Thanatos appears in her being also associated with the figure of the Vampire through her voracious sexual appetite again, her physical features —plentiful hair and pale face— and the fact that her death is not definitely acknowledged for a long time; metaphorically, in spite of different versions and various attempts, she is hard to kill indeed.
This last aspect may be the one which most clearly points out the relation to Bertha who, likewise, by her physical aspect and blood sucking activity inspires in Jane the same identification. It would therefore appear that to Daphne Du Maurier the mad woman in Jane Eyre is an abject avatar of the same mythic figure of the Fatal Woman which she herself elaborates into a more complex figure of power.
And the specific power with which Rebecca is endowed with in the eyes of her successor is precisely the one which Bertha Mason is completely deprived of, the power of writing.
And she will only be able to do this by deciphering the sign that Rebecca is. In the Bluebeard myth, knowing about Rebecca is precisely what is forbidden to the young wife. But she will get assistance, on the other hand, from another quarter: if Max De Winter closes the doors, Mrs Danvers is the bearer of keys and she opens them.
Mrs Danvers, on the contrary, functions as a very different type of mediator: not only does she connect, like Mrs Fairfax, the downstairs and upstairs worlds in the house, but she also opens the door for the dead transgressive Rebecca to make herself still present in it.
The underlying message therefore would be that, in opening access to Rebecca, it is Mrs Danvers, much more than the revelation of the circumstances of her death, who moves the narrator on from her state of naivety.
The start of her narrative is also a counterpoint to the end of the story, for the novel has two endings, so to speak: one is closed, and the other open, and here we are back to the parallel with Jane Eyre.
On the one hand, the novel actually closes upon Manderley being set on fire, which is a direct echo, although, of course, the fire is not lit by the Other Woman herself, but by her alter ego, Mrs Danvers. We can read here the revenge motif through the destruction of the patriarchal house; and as in Jane Eyre, the revenge may be attributed, either to the Other Woman or to the heroine on behalf of whom she acts, or both.
But this closure is displaced, paradoxically, to the very opening of the novel which introduces the reader to the after Manderley life of the De Winters, where he is presented with a marriage situation which strongly resembles the one at the end of Jane Eyre.Popular Features. Galileo;s championing of Copernicanism was controversial within his lifetime.
Download The Key to Rebecca ebook free Type: Maxim , Chapter 20 Maxim's wry observation shows his true feelings about Rebecca and suggests why he was driven to kill her.
Thanks bro. Cogito ergo sum Village Elder Apr 11, Groaner Village Elder Apr 11, Hardcover, First Edition. Though she was promiscuous, Maxim agreed to the terms of their marriage.
It must be that I had a small mean mind, a conventional, petty hatred of gossip.