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From the cover of Rosemary Sutcliff's autobiography The Blue Remembered HillsIt remains a pleasure to re-read , some months on, The Guardian editorial ‘in praise of’ Rosemary Sutcliff, and some comments posted by Michael Rosen. Continue Reading »

Cover of Rosemary Sutcliff's Sword at Sunset (US paperback)I have posted today about education and Facebook! Time to return to more central matters … Late in her life, one interviewer asked Rosemary Sutcliff  about the sources which inspired her version of the Arthurian legend in her best-selling book Sword at Sunset. She recalled various, including:

A wonderful book that I found in the war – a little book …  it was by an absolute crackpot – it was called The Battle for Britain in the Fifth Century. It was all about getting back to the historical Arthur, and the position of people like Vortigern, and people like that – who and what they probably really were. It was… quite crazy, bu I’ve always found a really good crack-pot very often … hits on some idea of what could be true, which the  … serious historian would undoubtedly miss.

Vortigern was a 5th-century leader of the Britons. He probably existed, although  information about him is shrouded in legend. I have found the book itself. The crackpot was Trelawney Dayrell Reed. The publishers were Methuen.

More about Sword st Sunset on this blog
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I have been trying to nudge upwards the number of followers of (people who “like”) the Facebook ‘page’ on Rosemary Sutcliff. Progress is slow. However the ‘viral effect’ is moving in the right direction, whatever exactly it is. (I have yet to get my head around that, no doubt simple, metric).

Viral Reach of Rosemary Sutcliff Facebook blog

This blog is not about education (per se), but Rosemary Sutcliff – who in fact did not go to school until about ten years old, and left at fourteen, but who was passionate about engaging and exciting young people and children. She would, I suspect, have found  it unsurprising but depressing that the Secretary of State for Education does not think children and young people are “interested in creating a genuinely world-class education system”. For he said this when he announced changes to the national curriculum review in England (?and Wales) just before Christmas:

The longer timescale will allow for further debate with everyone interested in creating a genuinely world-class education system; teachers, governors, academics, business leaders and parents (my italics AL), as well as giving schools more time to prepare for a radically different and more rigorous approach.

Where is the readiness, indeed desire, to involve young people and children in helping shape the curriculum for the future? And where are the educationalists who should be jumping up and down about the assumption about education implicit in this exclusion of young people? I have seen no significant comment on this, where I would have expected all manner of organisations and people to have raised this and changed this.

via Written Ministerial Statement – National Curriculum Review – The Department for Education.

The wonderful Michael Rosen writes eloquently at his blog  about the limitations imposed upon children (and teachers) by the national curriculum and SATs regime.

If I want to make myself distressed … all I need to do is focus on the kind of writing that English Year 6 children are asked to write, re-write and re-write again and again and again in the run-up to the SATs test. As a body of writing, it represents the removal of all danger, excitement, desire, problem, dilemma, problem-solving or subversion. It is in effect a censorship of the brain.

But even this over-simplifies. I always say to anyone (not only children) that the great thing about writing poems or stories or life-writing or even accounts of what you’ve done (so-called ‘recounts’) is that the potential in that moment of writing is discovery. However, if you do too much pre-structuring, pre-note-making, pre-planning, you miss one of the great achievements of the invention of writing which is to enable the writer to do the discovering as you write, in the process of writing. It’s as if the pen (or keyboard) is a probe or a spade (see Seamus Heaney’s poem on this) or a fork turning the texts and experiences over as you produce the words on the page (or as M.A.K. Halliday would put it, ‘as you produce the wording’).

Last year, Michael Rosen commented about Rosemary Sutcliff (at the Guardian newspaper , in response to an editorial):

Interesting that Rosemary Sutcliff was writing about the end of an empire at the end of…er…an empire. And does the search for the lost legion echo/refract Conrad’s Heart of Darkness?

Some of us drank in The Eagle of the Ninth two ways: once as a BBC Children’s Hour serial and second time as the book. I can remember hurrying to get home to hear it – moody, dangerous, mysterious – a quest for something real but long gone, a possible solution to an unsolved story…and somehow it had something to do with events that happened a long time ago just where you walked when we were on holiday: on moors, or on wet fields where we were camping. The book made a connection for me between a past and that particular present.

Full Michael Rosen post at his blog

Choose a favourite author, and say why you admire her/him

Rosemary Sutcliff. I was probably no older than nine or ten when I read ‘The Eagle of the Ninth’ and it had a huge influence on me; it’s one of the reasons I ended up writing about Rome. I was so struck by her imagery of Hadrian’s Wall and the wilds of Scotland, and the idea of the soldiers disappearing there.

via One Minute With: Ben Kane, historical novelist | The Independent.

Anjy posted a fascinating comment at the You Write! page about how well Rosemary Sutcliff‘s style translates into German, and about her powers of description.

I have been addicted to Sutcliff’s book for about 40 years now. I have read everything by her in German and a lot in English and she is one of the very few authors I came across who benefits from translations.

Mostly, when I read a book in German and then in the English original I prefer the original in comparison. Even if the translation is good (not every one is, Harry Potter is a linguistic catastrophe) normally the power and motion of the English is hardly transferred into German. Not so with Rosemary Sutcliff. Even by different translators her books are every bit enjoyable in German, sometimes even more.

Where the English language is strongly built upon verbs and verbal structures (the abundant “-ing-forms” are something every German pupils has to struggle to understand the concept of), German sets the focus much more on nouns and adjectives – and so does Rosemary Sutcliff. When she describes a scene – maybe due to being forced to just sit and watch for so many years of her early life – she concentrates on things that don’t move or change, on colours and textures. Like in later life as a miniature painter she draws her scenes in minute detail – much like a German sentence as Mark Twain depicted it .

I find this most unusual and remarkable and one the increasingly rare examples for an author whose style of writing (not so much the plots) is in direct correspondence with her very special biography.

I look forward to comments on the post….and if you have your own detailed reflections on Rosemary Sutcliff and her work, do please post them at the You Write! page .

 

Original Hardback cover Rosemart Sutcliff's Sword at Sunset Arthurian historical novelSome two decades ago, Rosemary Sutcliff, author of best-selling historical novel Sword at Sunset, suggested that :

“The Arthurian legend contains an essential truth, and I think at present we’re awfully uncertain of our future.Therefore we feel a kind of kinship for the Dark Ages; and I think for this reason we feel in a way the need for something to back us up, in the same way as Arthur ‘lights up’ the Dark Ages. We have a need for an archetype of some sort to pull us together, to get us through this, to spread light into the darkness until we can get through to a better world.”

Perhaps true of our times now as much as twenty years ago?

Rosemary Sutcliff wrote a best selling historical novel Sword at Sunset derived from the Arthurian legend. She thought the book the one of which she was most proud, for which she would most like to be remembered:

I do think that Sword at Sunset is the best thing I’ve ever written. And probably the best I ever will.

Source: Quondam et Futurus, Vol. 1, No. 4, Winter 1991 (supplied to me by Anne McFadgen – thank you!).

More about Sword at Sunset on this site

Rosemary Sutcliff book informs David Cameron?

Interesting post today from Anne at the ‘You Post’ tab on this site, about the connectedness and origins of Rosemary Sutcliff‘s stories and books of historical fiction.

Anthony’s earlier mention of the 1991 interview with John Withrington got me hunting out my copy for a re-read. We’ve also recently discussed the chronology of the novels linked by the Aquila family dolphin ring.

Readers have often wondered if Rosemary Sutcliff had the whole Aquila family sequence already mapped out when she wrote Eagle of the Ninth, so I thought it might be of interest to note her emphatic reply when Withrington asked about this.

JW: “Sword at Sunset is one of a series in which you use a leitmotif, that of the flawed emerald signet ring, to trace the history of a family from Roman Britain right through to Norman times. The first novel in which you used this was Eagle of the Ninth in 1954, but it appears later in Frontier of the Wolf in 1980. Was it your intention to construct a magnum opus, an epic from start to finish, in which Arthur appeared in the middle?”

RS: “No, it just happened. It did that of its own accord.”

Intriguingly, in this interview Sutcliff indicates more than once that she feels her novels to a certain extent shape themselves or are shaped by their characters – for example a question about The Shining Company elicits the response: “That’s, as I say, because of them, not me”.

Sunflower is a special roundabout horse. Although made from wood, he has real feelings and Jenny is a very special girl. When she rides Sunflower, something magical happens. A little story from Rosemary, but I love it. And I have always thought there was animated film also struggling to get out ….
Images

In my more fanciful moments I find myself wondering whether, in his dealings with Europe, David Cameron may have taken some inspiration from Carausius in Rosemary Sutcliff‘s historical novel The Silver Branch?  (Rosemary Sutcliff’s uncle Harold Lawton did live out his later years in Peasemore, the Berkshire village Cameron grew up in … but then we would all do well, politicians in particular, to remember that in all matters correlation is not cause ! )

“If I can make this one province strong—strong enough to stand alone when Rome goes down, then something may be saved from the darkness. If not, then Dubris light and Limanis light and Rutupiae light will go out. The lights will go out everywhere”. Carausius stepped back, dragging aside the hanging folds of the curtain, and stood framed in their darkness against the firelight and lamplight behind him, his head yet turned to the grey and silver of the starry night.

More posts about The Silver Branch on this site, and a summary of the story here

I discovered in 2010 that renowned Cornish writer Anna Maria Murphy was a great fan of  Rosemary Sutcliff, author of children’s books and historical fiction. Anna writes for  Theatre, as well as radio.

As a girl and a young woman, Rosemary Sutcliff was my absolute favourite writer and The Mark Of The Horse Lord one of my favourite books of all time. She was unlike any other writer for young people … ahead of her time by generations. She was one of the reasons I wanted to write as a young person … I always wanted to meet her … I wrote to her once, and she sent a lovely reply, but I lost the letter many years ago.

Anna began to write for theatre to avoid playing a dog! Her writing for Kneehigh has included ‘Don John’, ‘The Bacchae’, ‘The Red Shoes’, ‘Tristan & Yseult’, ‘Skulduggery’, ‘Doubtful Island’ ‘Ghost Nets’, ‘Women Who Threw the Day Away’, ‘Telling Tales’, ‘Wild Bride’ (The Shamans) and the film ‘Flight’. She has also written for Theatre Alibi, Platform 4, Brainstorm Films, The Eden Project, and several plays for Radio 4.

(Re-post from 2010, slightly updated)

Like the sudden opening of a cavern in his head, reality burnt upon Phaedrus, and in that ice-bright splinter of time he understood at last that this was a fight to the death, that he was fighting, not his comrade Vortimax, whom he had fought scores and hundreds of times before, but death, red-rending death such as the stag’s had been, and the hooks of the mercuries in the dark alleyway.

(from The Mark of the Horse Lord by Rosemary Sutcliff )

More about Rosemary Sutcliff‘s The Mark of the Horse Lord

I sometimes think that we stand at sunset … It may be that the night will close over us in the end, but I believe that morning will come again … We are the Lantern Bearers, my friend; for us to keep something burning, to carry what light we can forward into the darkness and the wind.

More about Rosemary Sutcliff‘s award-winning historical novel The Lantern Bearers on this blog

KindleI posted (see below) a few days ago about Rosemary Sutcliff‘s The Eagle of the Ninth being in the top five Kindle e-book sellers (at that point). I failed at first to notice that at Number 1 was Giselle Greene. She posted a comment, which led me to ask her what she thought  Rosemary might have made of Kindle. Giselle said:

I think the idea of Kindle wouldn’t have been so foreign to her – she was a Sagittarian, so working in the realms of imagination all the time …  and new possibilities for what might be always come first from what we can imagine. I loved her books and I loved her energy, which was very wise and also beautifully innocent at the same time. I think she’d be chuffed that a whole new generation of people are now accessing and enjoying her work and along with it all the values embedded therein.

Rotten Tomatoes on The Eagle film

Philip Reeve, author of the Mortal Engines Quartet (Mortal Engines, Predator’s Gold, Infernal Devices and A Darkling Plain), told the The Book Base that some of his favourite books when he was a child were: The Hobbit and The Lord of the Rings by J.R.R Tolkien; The Eagle of the Ninth by Rosemary Sutcliff, The Owl Service by Alan Garner, Asterix and Tin Tin, the Molesworth books…

via Author Interview: Philip Reeve | The Book Base.

Cover of autobiography Blue Remembered Hills by Rosemary Sutcliff At the start of last year I posted about historical novelist and children’s writer Rosemary Sutcliff‘s autobiography Blue Remembered Hills. I noted that a reviewer on the Amazon site - intriguingly at Leicester University in the town where I write this – wrote a decade ago:  

This is a fascinating book on several levels. First it is the story of a young girl, an only child born in 1920, growing up with middle-class parents, but in a fashion which combined the usual practices and mores of the time with the unusual. As she was crippled (her word) at the age of three, her mother insisted on bringing her up herself rather than delivering her to a nanny, and, due in part to her disabilities, and the long periods of treatment made necessary, she had little formal education. However, she discovered books at an early age, initially through being read to, and was a consummate observer of both people and landscape, particularly on a small scale – the play of light on a dagger blade, the petals of a flower.

Second, it is story of the development of a writer, up to the time her first book was accepted for publication (what a pity she stopped there – I wanted her to go on!)

Third, for me as the child of Service parents (father in the RAF) it is the best representation I have ever seen of the life of the Service child. Rosemary’s father was a naval officer, and she, like me, absorbed unconsciously the traditional values and mores of the British Armed Services while moving every two or three years according to her father’s postings. These values, which have a timelessness about them, in particular the reciprocal loyalties of officer to man and man to officer, the duty of an officer towards his men, come through very clearly in all her fiction. As with all her books, the descriptions are superb (she trained as a miniature painter.

The fourth element, I suppose, relates to the disability and her acceptance of it, in an atmosphere very different from that of today. She says that her mother in particular sought as far as possible to bring her up as a normal child, and so she never really thought of herself as crippled, even though in practical terms she was quite badly disabled. I was lucky enough to correspond with her, and to meet her on one occasion before she died, and I was quite surprised to see how disabled she actually was – she was a person who was incredibly alive.

Sources: I prefer reading: Blue remembered hills – Rosemary Sutcliff and here on Amazon

It is good to know people are buying and reading Rosemary Sutcliff books (see here), especially on the Kindle. Curiously, the bestselling e-book on Kindle is by Giselle Green, who just before Rosemary’s death in 1992 wrote for The Independent newspaper an insightful article based on an interview at Rosemary’s  home in Walberton.

“It was in the Great fire-hall on Barra, in the Outer Hebrides and a terrible storm was brewing up outside. They had just pulled the wicker-work shutters across the membrane of the windows in case the storm blew its way in, but the draughts were still getting in everywhere. You could hear the booming of the waves pitching against the beach . . . the hangings and skins of sailcloths with dragons painted on them billowed up all over the place as if they would come to life. . .”

Rosemary Sutcliff folds her hands over her chest: ”Then my supper arrived. I looked up into a clear, calm evening, and my first thought was – ‘Thank heavens that awful wind’s gone!’ ” A historical novelist for both children and adults, with 53 books to her credit, it is easy to see how, as one reviewer said: ”For Rosemary Sutcliff the past is not something to be taken down and dusted. It comes out of the pages alive, and breathing now . . .”

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