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Les lents blaves
Amb la intenció d’evitar que es quedi cega del tot, els metges decideixen operar d’urgència la Marda West. Quan es desperta de l’anestèsia, abans de poder comprovar el resultat de la intervenció, la Marda haurà de passar uns quants dies de repòs, sempre amb una bena als ulls, en una agradable clínica on cada dia la visita el seu marit. Privada temporalment de la visió i avorrida del tot, es passa el dia imaginant l’aspecte que deuen tenir el metge i les infermeres. Per fi, un dia li anuncien que li trauran les benes dels ulls i li posaran unes lents temporals amb un filtre blau. Però abans l’avisen que d’entrada pot ser que no hi vegi bé del tot.
88 pages, Paperback
Published May 19, 2026
About the author
Daphne du Maurier
444 books10.6k followersDaphne du Maurier was born on 13 May 1907 at 24 Cumberland Terrace, Regent's Park, London, the middle of three daughters of prominent actor-manager Sir Gerald du Maurier and actress Muriel, née Beaumont. In many ways her life resembles a fairy tale. Born into a family with a rich artistic and historical background, her paternal grandfather was author and Punch cartoonist George du Maurier, who created the character of Svengali in the 1894 novel Trilby, and her mother was a maternal niece of journalist, author, and lecturer Comyns Beaumont. She and her sisters were indulged as a children and grew up enjoying enormous freedom from financial and parental restraint. Her elder sister, Angela du Maurier, also became a writer, and her younger sister Jeanne was a painter.
She spent her youth sailing boats, travelling on the Continent with friends, and writing stories. Her family connections helped her establish her literary career, and she published some of her early work in Beaumont's Bystander magazine. A prestigious publishing house accepted her first novel when she was in her early twenties, and its publication brought her not only fame but the attentions of a handsome soldier, Major (later Lieutenant-General Sir) Frederick Browning, whom she married.
She continued writing under her maiden name, and her subsequent novels became bestsellers, earning her enormous wealth and fame. Many have been successfully adapted into films, including the novels Rebecca, Frenchman's Creek, My Cousin Rachel, and Jamaica Inn, and the short stories The Birds and Don't Look Now/Not After Midnight. While Alfred Hitchcock's films based upon her novels proceeded to make her one of the best-known authors in the world, she enjoyed the life of a fairy princess in a mansion in Cornwall called Menabilly, which served as the model for Manderley in Rebecca.
Daphne du Maurier was obsessed with the past. She intensively researched the lives of Francis and Anthony Bacon, the history of Cornwall, the Regency period, and nineteenth-century France and England. Above all, however, she was obsessed with her own family history, which she chronicled in Gerald: A Portrait, a biography of her father; The du Mauriers, a study of her family which focused on her grandfather, George du Maurier, the novelist and illustrator for Punch; The Glassblowers, a novel based upon the lives of her du Maurier ancestors; and Growing Pains, an autobiography that ignores nearly 50 years of her life in favour of the joyful and more romantic period of her youth. Daphne du Maurier can best be understood in terms of her remarkable and paradoxical family, the ghosts which haunted her life and fiction.
While contemporary writers were dealing critically with such subjects as the war, alienation, religion, poverty, Marxism, psychology and art, and experimenting with new techniques such as the stream of consciousness, du Maurier produced 'old-fashioned' novels with straightforward narratives that appealed to a popular audience's love of fantasy, adventure, sexuality and mystery. At an early age, she recognised that her readership was comprised principally of women, and she cultivated their loyal following through several decades by embodying their desires and dreams in her novels and short stories.
In some of her novels, however, she went beyond the technique of the formulaic romance to achieve a powerful psychological realism reflecting her intense feelings about her father, and to a lesser degree, her mother. This vision, which underlies Julius, Rebecca and The Parasites, is that of an author overwhelmed by the memory of her father's commanding presence. In Julius and The Parasites, for example, she introduces the image of a domineering but deadly father and the daring subject of incest.
In Rebecca, on the other hand, du Maurier fuses psychological realism with a sophisticated version of the Cinderella story.
She spent her youth sailing boats, travelling on the Continent with friends, and writing stories. Her family connections helped her establish her literary career, and she published some of her early work in Beaumont's Bystander magazine. A prestigious publishing house accepted her first novel when she was in her early twenties, and its publication brought her not only fame but the attentions of a handsome soldier, Major (later Lieutenant-General Sir) Frederick Browning, whom she married.
She continued writing under her maiden name, and her subsequent novels became bestsellers, earning her enormous wealth and fame. Many have been successfully adapted into films, including the novels Rebecca, Frenchman's Creek, My Cousin Rachel, and Jamaica Inn, and the short stories The Birds and Don't Look Now/Not After Midnight. While Alfred Hitchcock's films based upon her novels proceeded to make her one of the best-known authors in the world, she enjoyed the life of a fairy princess in a mansion in Cornwall called Menabilly, which served as the model for Manderley in Rebecca.
Daphne du Maurier was obsessed with the past. She intensively researched the lives of Francis and Anthony Bacon, the history of Cornwall, the Regency period, and nineteenth-century France and England. Above all, however, she was obsessed with her own family history, which she chronicled in Gerald: A Portrait, a biography of her father; The du Mauriers, a study of her family which focused on her grandfather, George du Maurier, the novelist and illustrator for Punch; The Glassblowers, a novel based upon the lives of her du Maurier ancestors; and Growing Pains, an autobiography that ignores nearly 50 years of her life in favour of the joyful and more romantic period of her youth. Daphne du Maurier can best be understood in terms of her remarkable and paradoxical family, the ghosts which haunted her life and fiction.
While contemporary writers were dealing critically with such subjects as the war, alienation, religion, poverty, Marxism, psychology and art, and experimenting with new techniques such as the stream of consciousness, du Maurier produced 'old-fashioned' novels with straightforward narratives that appealed to a popular audience's love of fantasy, adventure, sexuality and mystery. At an early age, she recognised that her readership was comprised principally of women, and she cultivated their loyal following through several decades by embodying their desires and dreams in her novels and short stories.
In some of her novels, however, she went beyond the technique of the formulaic romance to achieve a powerful psychological realism reflecting her intense feelings about her father, and to a lesser degree, her mother. This vision, which underlies Julius, Rebecca and The Parasites, is that of an author overwhelmed by the memory of her father's commanding presence. In Julius and The Parasites, for example, she introduces the image of a domineering but deadly father and the daring subject of incest.
In Rebecca, on the other hand, du Maurier fuses psychological realism with a sophisticated version of the Cinderella story.
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June 14, 2026m'ha encantat, molt entretingut🙂↕️
June 16, 2026
Surrealista m’ha enganxat molt!!!
May 25, 2026
Relat de Daphne Du Maurier, sobre una dona que es fa una operació de la vista i no termina de veure bé les coses o no les veu com abans.
Indedit en català, i molt bé traduit i editat amb una portada molt maca.
Indedit en català, i molt bé traduit i editat amb una portada molt maca.
May 26, 2026
L'he llegit d'una tirada perquè no podia parar (i és curtet, 86 pàgines). M'encanta aquesta autora, i com en aquest cas ha demostrat que no sempre t'hi veus bé quan portes ulleres...
June 3, 2026
Per evitar que la Marda West es quedi cega, els metges l’operen dels ulls urgentment. Tot surt bé, però per acabar el tractament, li col·loquen unes lents amb filtre blau abans de col·locar-li les lents permanents. Per fi, la Marda pot veure el que l’envolta després de setmanes de foscor. Però el que veu és soprenent i pertorbador.
Amb aquest inici, el relat es desenvolupa de manera que no saps si la Marda s’està tornant boja o el que veu és real. És el talent de du Maurier, que fa dubtar fins i tot al lector. He de confessar que m’ha semblat un relat molt estrany, però a mida que l’he anat digerint, la meva opinió ha millorat. El que veu la Marda (que no us ho puc dir perquè crec que és millor que ho llegiu, a mi em va deixar una mica boja) al final és la naturalesa de cada persona, és una mena de metàfora d’allò que diem, “les aparences enganyen”. I el final, tot i que ja me l’esperava de l’estil, em sembla molt adient. La idea m’ha semblat original i ben executada.
És el tercer relat que llegeixo de l’autora, i potser no és el meu preferit, però m’ha agradat tornar-hi. Viena també ens ha portat traduïts al català “Ara no miris” a la col·lecció Petits Plaers i “La cosina Rachel” a la col·lecció El cercle de Viena.
Amb aquest inici, el relat es desenvolupa de manera que no saps si la Marda s’està tornant boja o el que veu és real. És el talent de du Maurier, que fa dubtar fins i tot al lector. He de confessar que m’ha semblat un relat molt estrany, però a mida que l’he anat digerint, la meva opinió ha millorat. El que veu la Marda (que no us ho puc dir perquè crec que és millor que ho llegiu, a mi em va deixar una mica boja) al final és la naturalesa de cada persona, és una mena de metàfora d’allò que diem, “les aparences enganyen”. I el final, tot i que ja me l’esperava de l’estil, em sembla molt adient. La idea m’ha semblat original i ben executada.
És el tercer relat que llegeixo de l’autora, i potser no és el meu preferit, però m’ha agradat tornar-hi. Viena també ens ha portat traduïts al català “Ara no miris” a la col·lecció Petits Plaers i “La cosina Rachel” a la col·lecció El cercle de Viena.
June 17, 2026
Pffff boníssim! Simbòlic i amb moltes capes de lectura, aquest relat amaga una crítica a la submissió i revela un estudi psicològic sobre l’angoixa molt interessant. 💐
Displaying 1 - 6 of 6 reviews