Call number
FIC DUM
Collection
Genres
Publication
International Collectors Library (1936), Edition: None Stated, 284 pages
Description
The coachman tried to warn young Mary Yellan away from the ruined, forbidding place on the rainswept Cornish coast. But May chose instead to honor her mother's dying request that she join her frightened Aunt Patience and foreboding Uncle Joss Merlyn at Jamaica Inn. From her first glimpse on that raw November eve, she could sense the inn's dark power. Mary never imagined that she would become hopelessly ensnared in the vile, villainous schemes being hatched within its crumbling walls or that she would fall in love with a handsome, enigmatic stranger. But what secrets is he hiding from her and can she really trust him?
User reviews
LibraryThing member Meredy
Six-word review: Atmospheric thriller, strong heroine, literate author.
Extended review:
Daphne du Maurier has an extraordinary knack for creating atmosphere. She gives us the moors of Cornwall, "a silent, desolate country...vast and untouched by human hand." Bleak expanses of hard, scrubby ground
Wild sheep dwelt on the high tors, and there were ravens too, and buzzards; the hills were homing places for all solitary things.... When the wind blew on the hills it whistled mournfully in the crevices of granite, and sometimes it shuddered like a man in pain. Strange winds blew from nowhere; they crept along the surface of the grass, and the grass shivered; they breathed upon the little pools of rain in the hollowed stones, and the pools rippled. Sometimes the wind shouted and cried, and the cry echoed in the crevices, and moaned, and was lost again. There was a silence on the tors that belonged to another age; an age that is past and vanished as though it had never been, an age when man did not exist, but pagan footsteps trod upon the hills. And there was a stillness in the air, and a stranger, older peace, that was not the peace of God. (page 42)
In this country there are men as savage as the land, men who are beyond knowing the horror of their own deeds.
And this is the place to which young Mary Yellan comes, bound by a deathbed promise to her mother. Rogues and thieves and drunkards are not the worst of what she will meet as her drama plays out. Mystery and menace darken the wintry days she spends under the roof of her evil uncle, and there is little enough to give her hope of escape to a better life.
But Mary is made of sturdy stuff, despite the repeated reminders, in several characters' voices, of the presumed weakness of her sex. It's not a matter of defying the clichés; they're treated as natural limitations, as they were for centuries before feminism raised awareness. But they don't define Mary. She has natural advantages, too, such as strength, determination, and loyalty. She's not a quitter, even against all the odds. The horrors she's forced to face and the challenges she must meet would be enough to bring down many a lesser character of either sex.
One of the things I especially like about this tale is that the author doesn't try to justify everything her protagonist does. We don't have to be badgered or maneuvered into agreeing with Mary or necessarily thinking we'd have done the same in her place. We just have to believe that what she does is honestly within her character, and it is. This gives the author leeway to show us a pleasing complexity of character, with the kinds of flaws that make it ring true. Like Eustacia Vye, Mary shows a strong silhouette against a grim background, while still being both feminine and vulnerable.
There are several places where I wondered why something happened as it did, but there's only one plot point that I found truly jarring. As the momentum accelerates, a scene occurs in which Mary must provide access to a second-floor bedroom:
She...tied one end of her blanket to the foot of her bed, throwing the other out the window.... (page 234 in this 1936 edition)
I'd like to see that done. Try tying a knot in a blanket, enough of a knot to support someone's weight when secured to--what, a bedpost? The thickness of a blanket, any blanket, even one as thin as a sheet, is going to make it very difficult to tie, with a knot so bulky that it will gather up a lot of material and leave little to hang down. This sort of thing works in movies and animated cartoons, but could it possibly work in a realistic environment? I doubted it enough to stall out temporarily at that point; but of course I came back to find out what happened to Mary. And I blamed the author for that absurdity, not the character.
The deep interconnections of character and place, out of which events proceed with a seeming inevitability, create a satisfying unfolding of plot, even if you guess the key to the mystery a little too soon. The exciting finish is worth the wait.
Extended review:
Daphne du Maurier has an extraordinary knack for creating atmosphere. She gives us the moors of Cornwall, "a silent, desolate country...vast and untouched by human hand." Bleak expanses of hard, scrubby ground
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and soggy, treacherous marshes are broken by the high tors, massive slabs and towers of stone that are monstrous, moody presences:Wild sheep dwelt on the high tors, and there were ravens too, and buzzards; the hills were homing places for all solitary things.... When the wind blew on the hills it whistled mournfully in the crevices of granite, and sometimes it shuddered like a man in pain. Strange winds blew from nowhere; they crept along the surface of the grass, and the grass shivered; they breathed upon the little pools of rain in the hollowed stones, and the pools rippled. Sometimes the wind shouted and cried, and the cry echoed in the crevices, and moaned, and was lost again. There was a silence on the tors that belonged to another age; an age that is past and vanished as though it had never been, an age when man did not exist, but pagan footsteps trod upon the hills. And there was a stillness in the air, and a stranger, older peace, that was not the peace of God. (page 42)
In this country there are men as savage as the land, men who are beyond knowing the horror of their own deeds.
And this is the place to which young Mary Yellan comes, bound by a deathbed promise to her mother. Rogues and thieves and drunkards are not the worst of what she will meet as her drama plays out. Mystery and menace darken the wintry days she spends under the roof of her evil uncle, and there is little enough to give her hope of escape to a better life.
But Mary is made of sturdy stuff, despite the repeated reminders, in several characters' voices, of the presumed weakness of her sex. It's not a matter of defying the clichés; they're treated as natural limitations, as they were for centuries before feminism raised awareness. But they don't define Mary. She has natural advantages, too, such as strength, determination, and loyalty. She's not a quitter, even against all the odds. The horrors she's forced to face and the challenges she must meet would be enough to bring down many a lesser character of either sex.
One of the things I especially like about this tale is that the author doesn't try to justify everything her protagonist does. We don't have to be badgered or maneuvered into agreeing with Mary or necessarily thinking we'd have done the same in her place. We just have to believe that what she does is honestly within her character, and it is. This gives the author leeway to show us a pleasing complexity of character, with the kinds of flaws that make it ring true. Like Eustacia Vye, Mary shows a strong silhouette against a grim background, while still being both feminine and vulnerable.
There are several places where I wondered why something happened as it did, but there's only one plot point that I found truly jarring. As the momentum accelerates, a scene occurs in which Mary must provide access to a second-floor bedroom:
She...tied one end of her blanket to the foot of her bed, throwing the other out the window.... (page 234 in this 1936 edition)
I'd like to see that done. Try tying a knot in a blanket, enough of a knot to support someone's weight when secured to--what, a bedpost? The thickness of a blanket, any blanket, even one as thin as a sheet, is going to make it very difficult to tie, with a knot so bulky that it will gather up a lot of material and leave little to hang down. This sort of thing works in movies and animated cartoons, but could it possibly work in a realistic environment? I doubted it enough to stall out temporarily at that point; but of course I came back to find out what happened to Mary. And I blamed the author for that absurdity, not the character.
The deep interconnections of character and place, out of which events proceed with a seeming inevitability, create a satisfying unfolding of plot, even if you guess the key to the mystery a little too soon. The exciting finish is worth the wait.
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LibraryThing member elenchus
Jamaica Inn does not read as quickly as I anticipated, perhaps the result of deliberate pacing by Du Maurier. I see now the appeal for Hitchcock: tension arising from a conflict clearly developed for the reader but not quite so clear to the characters involved. The plot twist is almost telegraphed,
Mary Yellan's struggles with Joss Merlyn and Jem Merlyn are reflected in her view of herself and her perception of the Cornish landscape. "Men and women were like the animals on the farm," Mary ponders to herself [126]: she has no illusions about romance, and yet finds herself helpless before her attraction, and hates herself for it. Explicitly she portrays her struggle as one of instinct against reason, and is certain her self-discipline will fail. Worst, she finds women weaker than men on this account: "She wished women were not the frail things of straw she believed them to be." [144] Interesting that despite the happy ending, this flinty outlook isn't amended: her romance is either lucky, or perhaps short-lived (the tale ends without comment). The moors also reflect Mary's struggle, their inhospitable bogs and tors and marshy grasses literal and figurative obstacles to her escape, though Du Maurier describes them poetically and appreciatively.
Of chief interest are an undercurrent of malevolence tied to Druids, old gods opposed to modernity, and the landscape; and the character of Francis Davey, the vicar of Altarnun. It will be interesting to see how (even whether) Hitchcock incorporates each into his film.
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despite a red herring or two and eventual happy ending.Mary Yellan's struggles with Joss Merlyn and Jem Merlyn are reflected in her view of herself and her perception of the Cornish landscape. "Men and women were like the animals on the farm," Mary ponders to herself [126]: she has no illusions about romance, and yet finds herself helpless before her attraction, and hates herself for it. Explicitly she portrays her struggle as one of instinct against reason, and is certain her self-discipline will fail. Worst, she finds women weaker than men on this account: "She wished women were not the frail things of straw she believed them to be." [144] Interesting that despite the happy ending, this flinty outlook isn't amended: her romance is either lucky, or perhaps short-lived (the tale ends without comment). The moors also reflect Mary's struggle, their inhospitable bogs and tors and marshy grasses literal and figurative obstacles to her escape, though Du Maurier describes them poetically and appreciatively.
Of chief interest are an undercurrent of malevolence tied to Druids, old gods opposed to modernity, and the landscape; and the character of Francis Davey, the vicar of Altarnun. It will be interesting to see how (even whether) Hitchcock incorporates each into his film.
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LibraryThing member lauralkeet
After her mother's death, 23-year-old Mary Yellan goes to live with her Aunt Patience. Mary remembers Patience as a vibrant woman, and is shocked to see the effect of her marriage to Joss Merlyn, keeper of Cornwall's Jamaica Inn. Joss' violent, alcohol-infused rages have taken a toll on Patience,
Well, this being a mystery, I need to stop the plot summary right there. Suffice to say that things are never what they seem. There's way more to the smuggling ring than meets the eye, good people are bad and bad people are good. Du Maurier weaves it all together into a kind of exquisite tension that keeps the reader's guard up, waiting for someone to jump out from behind a corner. And she paints a vivid picture of the nineteenth-century Cornish seaside:
There could be not stillness where the sea broke upon the rockbound shore. She heard it again now, and continually; a murmur and a sigh as the spent water gave itself to the strand and withdrew reluctantly, and then a pause as the sea gathered itself for a renewal of effort -- a momentary fragment in time -- and then once more the thunder and the crash of fulfillment, the roar of surf upon shingle and the screaming scatter of stones as they followed the drag of the sea. (p. 145)
I enjoyed this book well enough; I was caught up in the story and kept sneaking off to read. Mary is a strong protagonist, unwilling to accept her circumstances. However, while I definitely appreciate a strong female lead to a mousy one, some of Mary's actions were unrealistic. The ending was also too neat and predictable. These two flaws make Jamaica Inn a 3-star book instead of 4-stars, but still recommended, especially for fans of gothic mysteries.
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who cowers at the very sight of her husband. And Mary quickly learns that all is not right at Jamaica Inn: the coach driver refuses to stop, the guest rooms are unused, and the pub is rarely open. She awakens one night to voices outside, and quickly determines her uncle is the leader of a smuggling ring operating under cover of darkness. Mary becomes obsessed with engineering her own escape, and rescuing her aunt from a destructive relationship. She meets Joss' brother, Jem, an admitted horse thief who she finds irresistibly attractive, but keeps him at arm's length because of assumed loyalty to Joss. Mary also meets a local vicar -- an albino at that -- who rescues her on the moors one night, and offers a refuge from the evil environment at Jamaica Inn. And the more she learns about the smuggling ring, the more frightening her situation becomes.Well, this being a mystery, I need to stop the plot summary right there. Suffice to say that things are never what they seem. There's way more to the smuggling ring than meets the eye, good people are bad and bad people are good. Du Maurier weaves it all together into a kind of exquisite tension that keeps the reader's guard up, waiting for someone to jump out from behind a corner. And she paints a vivid picture of the nineteenth-century Cornish seaside:
There could be not stillness where the sea broke upon the rockbound shore. She heard it again now, and continually; a murmur and a sigh as the spent water gave itself to the strand and withdrew reluctantly, and then a pause as the sea gathered itself for a renewal of effort -- a momentary fragment in time -- and then once more the thunder and the crash of fulfillment, the roar of surf upon shingle and the screaming scatter of stones as they followed the drag of the sea. (p. 145)
I enjoyed this book well enough; I was caught up in the story and kept sneaking off to read. Mary is a strong protagonist, unwilling to accept her circumstances. However, while I definitely appreciate a strong female lead to a mousy one, some of Mary's actions were unrealistic. The ending was also too neat and predictable. These two flaws make Jamaica Inn a 3-star book instead of 4-stars, but still recommended, especially for fans of gothic mysteries.
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LibraryThing member AdonisGuilfoyle
There's a strong flavour of 'Wuthering Heights' in this novel, transplanting the wildness of the moors from Yorkshire to Du Maurier's beloved Cornwall, but the story is more of a fairytale and the crisp narrative and driving dialogue often steps out of the time in which the tale is set (early
Mary Yellan, a farm girl from the pastoral south of Cornwall, loses her only living parent, and is sent to stay with her mother's sister and monster of a husband in an isolated spot on Bodmin moor. She quickly learns of her uncle's dark and violent deeds as a 'wrecker' (luring ships into the coast, then plundering the wreckage to sell on), but is trapped there by her duty to protect her weak and nervous aunt. Torn between justice and family, Mary turns to two very different men for help - Jem, the handsome and enigmatic brother of her uncle, and Mr Davey, the albino vicar from a neighbouring villlage.
I quite admired Mary to begin with - she is a 'resourceful' heroine who is outspoken yet brave enough to fight her own battles - but Du Maurier's constant harping on the inequality of the sexes eventually made me apathetic to her plight ('Once more she knew the humility of being born a woman, when the breaking down of strength and spirit was taken as natural and unquestioned.') Indeed, every other line seemed to be 'But I am a woman', or 'If I were a man', which is fine in the context of the story's setting, but rather demeans Mary's own strength. She is smart, forthright, industrious and rarely impeded by her gender, so why the bitter comparison of men and women? Yet Jem, the Hareton-esque brother of Mary's Heathcliffian uncle, is a witty and carefree love interest, who plays his cards close to his chest and appeals to the hidden gypsy in Mary. And Mr Davey is a disturbing character indeed, a sort of pantomime villain in negative.
A very dark and brooding gothic adventure, most of which takes place in the wind and the rain on the bleak moors, 'Jamaica Inn' is not one of Du Maurier's better novels. Although the story began at a dramatic pace, the narrative flagged in the middle, and the 'twist in the tale' was flagposted too early to be effective - for a relatively brief book, it took me far too long to read.
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nineteenth century, as with 'Wuthering Heights').Mary Yellan, a farm girl from the pastoral south of Cornwall, loses her only living parent, and is sent to stay with her mother's sister and monster of a husband in an isolated spot on Bodmin moor. She quickly learns of her uncle's dark and violent deeds as a 'wrecker' (luring ships into the coast, then plundering the wreckage to sell on), but is trapped there by her duty to protect her weak and nervous aunt. Torn between justice and family, Mary turns to two very different men for help - Jem, the handsome and enigmatic brother of her uncle, and Mr Davey, the albino vicar from a neighbouring villlage.
I quite admired Mary to begin with - she is a 'resourceful' heroine who is outspoken yet brave enough to fight her own battles - but Du Maurier's constant harping on the inequality of the sexes eventually made me apathetic to her plight ('Once more she knew the humility of being born a woman, when the breaking down of strength and spirit was taken as natural and unquestioned.') Indeed, every other line seemed to be 'But I am a woman', or 'If I were a man', which is fine in the context of the story's setting, but rather demeans Mary's own strength. She is smart, forthright, industrious and rarely impeded by her gender, so why the bitter comparison of men and women? Yet Jem, the Hareton-esque brother of Mary's Heathcliffian uncle, is a witty and carefree love interest, who plays his cards close to his chest and appeals to the hidden gypsy in Mary. And Mr Davey is a disturbing character indeed, a sort of pantomime villain in negative.
A very dark and brooding gothic adventure, most of which takes place in the wind and the rain on the bleak moors, 'Jamaica Inn' is not one of Du Maurier's better novels. Although the story began at a dramatic pace, the narrative flagged in the middle, and the 'twist in the tale' was flagposted too early to be effective - for a relatively brief book, it took me far too long to read.
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LibraryThing member murderbydeath
One of the most beautifully written books I've ever disliked. And let's be clear - my 3 stars is my attempt at objectivity, because it is a beautifully written book, and I did dislike it. A lot.
From the first sentence there's no doubt this story is dripping with dark, forbidding, gothic
I liked Mary well enough, but I was unable to muster any sympathy for poor Aunt Patience; I really just kept hoping someone would push her down the stairs. I do not much like enablers any more than I like those they enable. Still, I was really getting into the plot (once I deep dived through all that atmosphere), until I got to the part where Mary meets the vicar.
What is up with the albino trope? I realise that when this was written the whole thing might have taken readers by surprise, but has there ever been an albino in a book that wasn't the evil villain?
At that point, I was truly just reading to get 'er done. There was no way the book was going to surprise me from that moment on.
Aaannnddd then there's the ending. I liked Mary until that point. Hell, I liked Jem until that point. Now, I think they both deserve a horrible ever after. She should just change her name to Patience and be done with it.
From the first sentence there's no doubt this story is dripping with dark, forbidding, gothic
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atmosphere. By the second page, it's swimming it in. By chapter 2, it's drowning. I don't know if du Maurier was trying to pad out a short story, or if she just really wanted to make sure her readers knew this was going to be a dark, dreary, forbidding story; either way, too much of a good thing is still too much. There might have been some skimming.I liked Mary well enough, but I was unable to muster any sympathy for poor Aunt Patience; I really just kept hoping someone would push her down the stairs. I do not much like enablers any more than I like those they enable. Still, I was really getting into the plot (once I deep dived through all that atmosphere), until I got to the part where Mary meets the vicar.
At that point, I was truly just reading to get 'er done. There was no way the book was going to surprise me from that moment on.
Aaannnddd then there's the ending. I liked Mary until that point. Hell, I liked Jem until that point. Now, I think they both deserve a horrible ever after. She should just change her name to Patience and be done with it.
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LibraryThing member -Cee-
Another awesome book by du Maurier! Stunning imagery of the moors in England, suspense, and dark moods fill this harrowing story of a young woman who finds herself alone in a dangerous world of crime and greed. Following her mother's deathbed wish, Mary goes to live with her aunt and uncle in the
DuMaurier's characters are bold. Her depiction of schemes, emotional turmoil, inner moral struggles, and alarming events are rich and plentiful. Recommended for exercising and toning, because you will be tensing and relaxing those muscles!
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isolated, spooky and horrifying Jamaica Inn. She finds her aunt deranged and her uncle fearsome -obviously involved in something far more frightening than mere smuggling.DuMaurier's characters are bold. Her depiction of schemes, emotional turmoil, inner moral struggles, and alarming events are rich and plentiful. Recommended for exercising and toning, because you will be tensing and relaxing those muscles!
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LibraryThing member BrokenTune
I finished Jamaica Inn in the early hours of this morning and spent most of today thinking about whether I should give it 3 or 4 stars and whether to add a review – there have been so many already, and so much of what can be said about JI has been said:
There’s a lot of scope for discussion
It’s a story set in the early 19th century, it’s gothic, it’s formulaic, atmospheric, and it’s possibly also well represented by other adjectives ending in “–ic”....
What I would like to add, though, is that despite its short-comings it is a good read (- well it kept me awake anyway).
I was drawn into the story and the setting right from the start of the book and I had to double check the publication date as it was strange to read a story that written around the same time as In Dubious Battle, The ABC Murders, or Mephisto but had the feel of a Bronte novel. I guess this is where Du Maurier’s ability to create a time warp that will absorb a reader really shines.
Of course there are the occasional lapse in good judgement of her protagonists and the unbelievable – literally unbelievable – good luck of the would-be-detective Jem, but the quite extraordinary addition of the nihilist attitude in both extremes of the local society - the wreckers and the local clergy (two sides of the same coin)- is entertaining enough to forgive for such obvious flaws.
The part of the book I found irritating was the ending. I wish it had ended before the rescue party arrives.
There’s a lot of scope for discussion
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whether the characters are too simple, whether the plot is predictable, whether Du Maurier had found her voice as a writer, yet (even though JI is not her debut and Rebecca was published only two years later), and whether JI merits the praise it seems to get. It’s a story set in the early 19th century, it’s gothic, it’s formulaic, atmospheric, and it’s possibly also well represented by other adjectives ending in “–ic”....
What I would like to add, though, is that despite its short-comings it is a good read (- well it kept me awake anyway).
I was drawn into the story and the setting right from the start of the book and I had to double check the publication date as it was strange to read a story that written around the same time as In Dubious Battle, The ABC Murders, or Mephisto but had the feel of a Bronte novel. I guess this is where Du Maurier’s ability to create a time warp that will absorb a reader really shines.
Of course there are the occasional lapse in good judgement of her protagonists and the unbelievable – literally unbelievable – good luck of the would-be-detective Jem, but the quite extraordinary addition of the nihilist attitude in both extremes of the local society - the wreckers and the local clergy
The part of the book I found irritating was the ending.
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LibraryThing member hellonicole
Sometimes I find myself so deeply engrossed in a book, so deeply in love with it, yet I can't even begin to explain why to someone else. Jamaica Inn is one of those books. It combines mystery and romance with deep characters and interesting plot twists, but there's something else about it that just
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grabs me, time after time. A classic. Show Less
LibraryThing member messpots
The reviews here give several dates for the setting; in fact it's the early nineteenth century. The characters themselves remind us of the setting several times. The heroine's love interest feels that he doesn't belong in the century, but that the heroine does. I thought perhaps du Maurier was
In Rebecca the real action is taking place in the narrator's head; so also My Cousin Rachel. This is more straightforwardly a thriller. The plot is tight and exciting. Two characters are set against one another like Ivan and Dmitri in The Brothers Karamazov (one outwardly loathsome, the other quietly and cerebrally loathsome), but du Maurier has no larger point to make out of the contrast, unlike Dostoevsky. Nor is the Dmitri-type in any way redeemed at the end, something which might have given the novel more brilliance.
At the finish she introduces a theme common in John Buchan and Kipling: ugly paganism with a weak overlay of Christianity. It's a theme that doesn't really work anymore, in a more secular age. It's been replaced by the theme of 'ugly sexual repression with a weak overlay of Christianity'. To modern eyes it's almost jarring to see how carefully du Maurier avoids the latter theme.
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planning to make more of this. Eliot's The Mill on the Floss is set about the same time: pre-industrial revolution, before the advent of canals, when commerce was mostly local, and strangers in a village were an oddity. There are hints of this vanished life in Jamaica Inn as well, but it's an aspect that du Maurier isn't interested in developing.In Rebecca the real action is taking place in the narrator's head; so also My Cousin Rachel. This is more straightforwardly a thriller. The plot is tight and exciting. Two characters are set against one another like Ivan and Dmitri in The Brothers Karamazov (one outwardly loathsome, the other quietly and cerebrally loathsome), but du Maurier has no larger point to make out of the contrast, unlike Dostoevsky. Nor is the Dmitri-type in any way redeemed at the end, something which might have given the novel more brilliance.
At the finish she introduces a theme common in John Buchan and Kipling: ugly paganism with a weak overlay of Christianity. It's a theme that doesn't really work anymore, in a more secular age. It's been replaced by the theme of 'ugly sexual repression with a weak overlay of Christianity'. To modern eyes it's almost jarring to see how carefully du Maurier avoids the latter theme.
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LibraryThing member AliceAnna
I might have given this a higher rating when I first read it 40+ years ago, but I'm not sure that it has aged well. Although the character of Mary is very brave, she doesn't make terribly smart choices. Falling for the bad boy is one of those (IMO) bad choices. Also, having an albino character
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called a freak of nature and the like was a bit jarring. Other than that, it is extremely well written and dripping with atmosphere. The moors become a character unto themselves. Some of the other characters border on over-the-top territory, but I still found them believable because I've known a whole lot of over-the-top personalities in real life so why not? Good building of suspense and a satisfying climax. Show Less
LibraryThing member bell7
After her mother's death, Mary Yellan must leave her farm in Helston and move in with her aunt and uncle. Her uncle by marriage, Joss Merlyn, is abusive and a drunkard, and her Aunt Patience, whom Mary remembered as vivacious, has been cowed by her husband. Joss is also the landlord of Jamaica Inn,
I once read that the Gothic novel was the precursor to the romantic suspense genre, and this novel is a good example of that: the love interest with a dark past, mystery and danger, are all present. The suspenseful ambiance is well done, as might be expected from this author, with vivid descriptions. Though not as well-written as Rebecca, I think partially because I liked the protagonists more and partially because I had a better idea of what to expect, I liked this story a little more.
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a place with a bad name and a mystery, as Mary discovers that her uncle's business runs towards illegal activities. For the sake of her aunt, she doesn't say anything at first, but as she learns more of what's really going on, she's not sure how long she can keep silent.I once read that the Gothic novel was the precursor to the romantic suspense genre, and this novel is a good example of that: the love interest with a dark past, mystery and danger, are all present. The suspenseful ambiance is well done, as might be expected from this author, with vivid descriptions. Though not as well-written as Rebecca, I think partially because I liked the protagonists more and partially because I had a better idea of what to expect, I liked this story a little more.
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LibraryThing member Figgles
Enjoyable, fairly standard romance, lovely description of the countryside, not to be compared with Rebecca. Oddly I kept being startled to find it written in the 3rd person as it has the feel of a 1st person narrative!
LibraryThing member mandarella
3.5 / 5
I like the dreary, gothic atmosphere because it was very reminiscent of Jane Eyre and Wuthering Heights. Parts of the plot were slow and difficult to get excited about. However, I did like Mary's character and her perspectives on love and relationships, those were some of my favorite
I like the dreary, gothic atmosphere because it was very reminiscent of Jane Eyre and Wuthering Heights. Parts of the plot were slow and difficult to get excited about. However, I did like Mary's character and her perspectives on love and relationships, those were some of my favorite
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moments. But...I wasn't crazy about her relationship with Jem, so the ending for me fell flat. Overall, Jamaica Inn is a good book ... Doesn't stand a candle to Rebecca. Show Less
LibraryThing member bookworm12
Mary Yellan, an innocent 23-year-old farm girl is sent to live with her aunt when her mother’s death orphans her. Upon her arrival she learns that her dear aunt has become a terrified, shell of a person. She lives in constant fear of her husband, Joss Merlyn, the vicious landlord of the Jamaica
Mary soon realizes her uncle is involved in some devious plot, which is putting them all in danger. She’s isolated at the inn, located far out in the lonely Cornwall moors, and she doesn’t know what to do. Joss’ brother Jem walks the thin line between charming scoundrel and devilish tempter. Friendless and alone, Mary wants to trust him, but she isn’t sure if she should.
I didn’t love this one quite as much as Du Maurier’s Rebecca, but it’s still a good gothic mystery. She’s an expert in sustaining suspense and intrigue. I found this one much more predictable, but I don’t know if that’s because it was or if I’m just becoming used to her style. This is my third book from the author and even if it’s not my favorite, it didn’t disappoint.
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Inn. Mary soon realizes her uncle is involved in some devious plot, which is putting them all in danger. She’s isolated at the inn, located far out in the lonely Cornwall moors, and she doesn’t know what to do. Joss’ brother Jem walks the thin line between charming scoundrel and devilish tempter. Friendless and alone, Mary wants to trust him, but she isn’t sure if she should.
I didn’t love this one quite as much as Du Maurier’s Rebecca, but it’s still a good gothic mystery. She’s an expert in sustaining suspense and intrigue. I found this one much more predictable, but I don’t know if that’s because it was or if I’m just becoming used to her style. This is my third book from the author and even if it’s not my favorite, it didn’t disappoint.
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LibraryThing member terriks
Oh, the disappointment. :( To think this volume of absolute gothic nonsense came from the author of "Rebecca" is astonishing. True, du Maurier has excellent command of language, and her descriptions of the wild moors are quite lovely. That's why I gave it 2 stars instead of 1. Her writing will
If you're in the mood for some light mood-ish reading, and don't expect to be interested at ALL in the shallow stupidity of the main characters, then you may get some enjoyment from this. But if you're turning to this novel after the searing, page-turning genius of "Rebecca," you will be very disappointed. There's a good 1 star review here on LT that goes into good detail as to what makes this novel such a failure - find that one if you need more.
Aside: I came across this book in a charming, 3-story bookstore, converted from a former glove factory in downtown Detroit - John K. King Used & Rare Books. My copy is nothing special, just a typical wide-release paperback. But I wasn't going to leave that place without something in hand, and can't wait to get back to Michigan to visit this store again. For that memory alone, I am happy to have this copy.
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always start at that level for me. To be fair, du Maurier wrote this novel in 1936 - Rebecca came two years later. Perhaps she was merely flexing her style here, getting ready to create characters that readers could actually care about. If you're in the mood for some light mood-ish reading, and don't expect to be interested at ALL in the shallow stupidity of the main characters, then you may get some enjoyment from this. But if you're turning to this novel after the searing, page-turning genius of "Rebecca," you will be very disappointed. There's a good 1 star review here on LT that goes into good detail as to what makes this novel such a failure - find that one if you need more.
Aside: I came across this book in a charming, 3-story bookstore, converted from a former glove factory in downtown Detroit - John K. King Used & Rare Books. My copy is nothing special, just a typical wide-release paperback. But I wasn't going to leave that place without something in hand, and can't wait to get back to Michigan to visit this store again. For that memory alone, I am happy to have this copy.
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LibraryThing member Helenliz
The writing in this is so very atmospheric that whilst I was tucked up warm in bed I could swear I felt the cold and shivered.
Mary Yellan's family has died and she can no longer run the farm in Southern Cornwall by herself. She goes to live with her aunt, who is married to the landlord of an Inn
While staying at the Inn she meets two men, Jem, the landlord's younger brother & horse thief and Frances Davy, the vicar of the nearest village. They are both unknown quantities, and Mary is not certain if she can trust herself in her reaction to them. The climax takes place over the space of a few days around Christmas. It is quite fast moving and quite violent. It doesn't all end happily, and there is a final twist of the plot in the last few chapters that I didn't see coming at all. The final chapter is less of a surprise, after the denouement, Mary does escape, and she will live again.
Mary Yellan's family has died and she can no longer run the farm in Southern Cornwall by herself. She goes to live with her aunt, who is married to the landlord of an Inn
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on the loneliest part of Bodmin. Before she arrives she hears the bad reputation of the place. The reality is every bit as bad as the stories. Her aunt is no longer the gay women she remembers, instead Patience is a broken woman, browbeaten as well as actually beaten, and mentally broken down. The landlord is clearly involved in nefarious activity and Mary is told, in no uncertain terms, to close her eyes and stop her ears and to keep her mouth shut. However Mary doesn't exactly do as she is told. She stands up to her uncle in several small ways, while being unable to, yet, turn him in and escape the place. While staying at the Inn she meets two men, Jem, the landlord's younger brother & horse thief and Frances Davy, the vicar of the nearest village. They are both unknown quantities, and Mary is not certain if she can trust herself in her reaction to them. The climax takes place over the space of a few days around Christmas. It is quite fast moving and quite violent. It doesn't all end happily, and there is a final twist of the plot in the last few chapters that I didn't see coming at all. The final chapter is less of a surprise, after the denouement, Mary does escape, and she will live again.
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LibraryThing member clue
Jamaica Inn sits alone on the Cornish moors, no longer the comfortable inn it once was but instead the home of an evil man. Not knowing the circumstances, Mary Yellan goes there after the death of her mother because her aunt is married to Joss Merlyn, the owner of the inn. Mary will learn the inn
The 1939 Alfred Hitchcock movie starred Charles Laughton and Maureen O'Hara in her first major screen role.
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harbors men unlike any she has ever known; smugglers, thieves, even murderers. How can she protect herself and her Aunt Patience, a battered and haunted captive. A dark, suspenseful and atmospheric read. The 1939 Alfred Hitchcock movie starred Charles Laughton and Maureen O'Hara in her first major screen role.
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LibraryThing member MelissaLenhardt
I believe du Marier used every possible adjective to describe the moors of Cornwall - twice. This book is loaded down with repetitive, mood setting description, and it bogs down the narrative. Even so, you'd be better off reading this than watching Hitchcock's terrible, terrible adaptation.
LibraryThing member lissabeth21
First off, I am really thankful to have won this beautiful new edition from a Goodreads Giveaway!
I love Daphne du Maurier and this is a truly great example. Every word is evocative as she paints a vivid picture of each barren landscape and soulless individual. The "love" story is more passion than
I love Daphne du Maurier and this is a truly great example. Every word is evocative as she paints a vivid picture of each barren landscape and soulless individual. The "love" story is more passion than
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love and I feel more nervous than happy for our heroine by the end of the novel. But it is refreshing to hear the very mature, knowing rationalization she makes of her situation and to see that she chooses to follow her heart, however misguided it may be. Lots of dark and dangerous plotting here, with atmosphere to spare. Maybe I'll be brave enough to watch Hitchcock's version... Show Less
LibraryThing member Panopticon2
Plenty of Gothic goodness here - this is my second duMaurier (the other being Rebecca) and this page-turner deserves its classic status. I began reading this while on holiday in Cornwall, in homage to the author herself - and it certainly added a whole new dimension to my enjoyment of the book,
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knowing that the real Jamaica Inn was just a few miles up the road from where I was staying. Unfortunately, I can report that the real Inn has sadly been stripped of all vestigial romance - though the bar has a suitably traditional, historic interior, the adjoining museum (filled with cheesy wax tableaux) and tacky gift shop are pretty dreadful. Good thing I have my imagination - fired by this gripping novel - to rely on. Show Less
LibraryThing member VicNoirReader
Ignore the bad romance novel cover, and the romance novel-sounding pen name--Daphne du Maurier was her real name, and the cover most certainly does not fit the storyline. A young woman is sent to her aunt and uncle's inn, a dastardly place known throughout the neighboring townships to be a place
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where horrific, violent things happen. What she finds there is more horrific than she could have guessed... du Maurier is a master of suspense and horror. And finding that small amount of romance between two unlikely characters, but making it seem plausible and realistic. It's a beautifully twisted story, and the characters are angry and wicked, disillusioned with human beings, given up on the decency of mankind. I highly recommend this novel if you enjoyed du Maurier's masterpiece Rebecca. Show Less
LibraryThing member thornton37814
Mary Yellan's mother dies. Her final request was that Mary seek shelter with her Aunt Patience. Mary soon discovers that Jamaica Inn is not respectable and that her aunt is putting up with a despicable husband who is both an alcoholic and a smuggler. While wandering on the moors, Mary encounters an
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albino clergyman. She finds herself falling in love with her uncle's horse-thieving brother. The characters are well drawn. The novel is dark. It's far from my favorite DuMaurier, but it was nice to revisit this book I'd read about 35 to 40 years ago. Show Less
LibraryThing member LibraryCin
3.5 stars
It is the 19th century in England. Mary is 23. Her father died when she was little, so her mother has been taking care of her, solo, for 17 years. When her mother dies, Mary promises her that she'll go live with her Aunt Patience, her mother's sister, who neither of them has seen since
I liked it. I liked Mary (for the most part) and her independence. The book especially picked up in the last third or quarter of the book. It is suspenseful, especially in that last bit of the book. Have to admit that I didn't like the very end, though.
It is the 19th century in England. Mary is 23. Her father died when she was little, so her mother has been taking care of her, solo, for 17 years. When her mother dies, Mary promises her that she'll go live with her Aunt Patience, her mother's sister, who neither of them has seen since
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before Aunt Patience got married 10 years earlier. When Mary arrives at Jamaica Inn, she learns that her uncle is not very nice (that's putting it mildly!). No one comes to Jamaica Inn because they are scared to. And there seems to be something going on there...I liked it. I liked Mary (for the most part) and her independence. The book especially picked up in the last third or quarter of the book. It is suspenseful, especially in that last bit of the book. Have to admit that I didn't like the very end, though.
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LibraryThing member prettycurious
This book definitely draws you in, making you turn each page in your desire to find out what happens. My main criticism relates to the romance part of it. It feels far too rushed and the last chapter has a 'tacked on' feel to it and is very unsatisfactory.
LibraryThing member js229
This certainly is Romantic Gothic, with particularly heavy doses of mood weather; it's always dark when our heroine is going into the unknown and raining when things are looking down and sunny when lurve is in the air. The Tors loom, large, if not quite engorged. Great fun even if the final plot
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turn is visible from half way through. There is an admirable, feisty heroine in Mary who only at the very end lapses into passivity. There's an interesting passage towards the end of the book reflecting on how the constraints of being a woman in that society will affect how her life will be after the book closes, which stands in some contrast to her ability to make her own fate within the book. Mary is particularly entertaining when recognising and finding most inconveniently unignorable her attraction to a Bad Man. The Jamaica Inn's landlord, though a monster, is a carefully drawn one - unlike his downtrodden wife who seems to have had any character beaten out of her and is reduced to symbol. Made me want to go to Cornwall on holiday... Show Less
Pages
284