Her interest in genre work was clearly typical of the Mainstream Writer of SF, as confirmed by the rudimentary sf explanation of the Timeslip in The House on the Strand ( 1969), for it is Drugs that send its contemporary protagonist into medieval Cornwall.
Her completion of Sir Arthur Quiller-Couch's partial draft of Castle Dor (November 1961 Ladies' Home Journal 1962) effectively embraces the legend of Tristan and Iseult which underlies the tale. The Years Between: A Play in Two Acts (performed 1944 1945), a Near Future World War Two drama set mostly at the point of Germany's surrender in 1945, genteelly revolves around the secret exploits of the protagonist's husband, who has organized what seems the whole of the European resistance to the Nazis, and who returns prepared to become "benefactor-cum-policeman" over Britain, which will therefore be untroubled by threats of revolutionary change echoes of Bernard Newman's The Cavalry Went Through ( 1930) are probably unintended. He work is full of intimate, role-threatening doubles (see Doppelgangers) that at times evoke the life and work of James Tiptree Jr. Other dark-hued romances, like her most famous tale, Rebecca ( 1938), as usual set in Cornwall, lack any explicit element of the fantastic but in general she conveys a a hauntedness about her life and work, a sense that very deep issues of Gender tormented her personally while at the same time they freed her creatively. (1907-1989) UK author, granddaughter of George du Maurier, famous (against her will: she thought of herself as an author of psychological studies without genre taint), though in fact they sometimes engaged with the supernatural, beginning with her first novel, The Loving Spirit ( 1931), a ghost story tinged with incest.
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