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Posts Tagged ‘children’s literature’

Rosemary Sutcliff wrote in her postscript  to Henry Treece’s The Dream-time:

Different kinds of stories need to be told in different kinds of words strung together in different ways.

Henry Treece understood this better than almost any other writer I know. He had a very special gift for finding exactly the words and word-patterns that each of his books needed, so that instead of simply telling the story, they blend into it and become part of its texture and colour and shape and smell.

This is a kind of magic; but it is a magic that, if it is perfectly carried out, hardly shows; so that one might read The Dream-time from beginning to end, and never notice that it was there at all, which would be a great pity.

The Dream-time is a story of people in the very early morning of humanity, when they were not really used to being people at all, and so everything had a strangeness about it, and nothing was quite certain; not even that the spring would come again next year. They were so near the beginning that they can have had only the fewest and simplest of words with which to talk to each other and share their thoughts and feelings and ideas. And yet we know, from the things to do with their religion and way of life that they left behind them, and from Stone Age people who are alive today, such as the Bushmen of the Kalahari, that they had all kinds of complicated thoughts and fears and longings in their heads and hearts. So Henry Treece has told this story in very short and simple words, put together in such a way that they can express things which are not simple at all.

Before you have read very far into The Dream-time you will know what Henry Treece is saying. Indeed, he makes Crookleg, who became Twilight, think part of it for him: `He wished that all people, the men and women and horses and owls and dogs could agree to speak the same words. Then all things would be easy, to speak and to be understood. Perhaps no one would fight then.

It is a constantly shifting and changing story that holds one all the way, with its adventures and its strange peoples and places; but it is also a plea for people to get to know each other and care about each other more; for peace instead of war;  making instead of breaking.

I think that in this, the last book that Henry Treece wrote, he did not mean to make a historical novel, such as he had made before, but to do something quite different. It is more as though, in a way, he were writing down a dream; and just as, in a dream, times and places get jumbled together, he has deliberately put different periods and `pockets’ of very different Peoples nearer to each other than they really were. The story, of a boy who would rather make beautiful things than kill people, seems to belong to the late Stone Age, to the Little Dark People who possessed the secret of growing barley; but the Hunters, the makers of wonderful cave paintings, who were there long before the Barley People, come into it, too; and about the River Folk there is a suggestion of the Age of Bronze, which came after the Little Dark Ones had had their day. I think that in all this, he was trying to show that however much people change in the outward way that they behave and even think, certain things never change. Some of these things are good, and some of them bad and sad. In all ages, even today, there are people who want to make beautiful things more than anything else in the world; and people who are willing to die for a dream, even for the kind of dream that seems crazy to everyone else. And in all ages, even today when we have had four thousand years or so in which to learn more sense, people still fight because they do not understand each other.

One of the sad things of life, for every writer, is the knowing that one day he will write his last book. And all too often, when it comes, it is just a book like others that he has written before; maybe not even as good as some of those others were. But Henry Treece was lucky; he has written a very special book indeed for his last novel of all.

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Rosemary Sutcliff died at the end of July 22 years ago. The Guardian obituary by Elaine Moss was entitled ‘Chronicler of Occupied Brittania’:

Let us not be solemn about the death of Rosemary Sutcliff CBE, who has died suddenly, aged 72, despite the progressively wasting Still’s disease that had been with her since the age of two. She was impish, almost irreverent sometimes, in her approach to life. Her favourite author was Kipling and she once told me she had a great affection for The Elephant’s Child – because his first action with his newly acquired trunk was to spank his insufferably interfering relations.

But it was Kipling’s deep communion with the Sussex countryside and its history that was her true inspiration. Settled as an adult in Arundel, Rosemary shared with him his love for his county as well as his vision of successive generations living in and leaving their mark upon the landscape.

Rosemary Sutcliff, at the peak of her form in her “Roman” novels, was without doubt an historical writer of genius, and recognised internationally as such. Though most of her books were published for children, many—particularly The Mark Of The Horse Lord (1965)—have about them the full stature and uncompromising treatment that make them valued additions to the bookshelves of historians.

Though she wrote more than 50 novels, set in times as far apart as the Bronze Age and the 18th century, her favoured period was the Roman occupation of Britain and the survival through it (survival is her theme song) of the native tribes. She writes hauntingly of the life of the Legions, the collapse of the Roman Empire and the carrying of the lantern of civilisation by the descendants of the early legionnaries into the Dark Ages. And it was in the Dark Ages that the Arthurian legends, her second love (surely not unrelated to the first?), were born. To the Arthurian legends which she retells in The Sword And The Circle (among other titles) for children and The Sword At Sunset (1963), an adult novel, she brings her own extraordinary narrative gifts and a touch of personal magic.

To the best-loved Roman stories—The Eagle Of The NinthThe Silver Branch and The Lantern Bearers (winner of the Carnegie Medal)—she brings life, glowing and immediate, the result of painstaking research that fired an imagination of extraordinary richness. Song For A Dark Queen (1978) celebrated one of her rare heroines —Boudicca—and she was at once pleased and amused by its outcome, ‘The Other Award’, which is normally conferred upon more self-consciously anti-sexist authors.

Many of Sutcliff’s admirers are struck by the luminous details in her work that conjure up a palpable vision of a Northumbrian wood, a sleeping wolfhound, a young Roman soldier in the noise and mud and confusion of battle. They may not know that at the age of 14 Rosemary Sutcliff left school (“I was hopeless at everything—English, History, Nature Study, Latin —all the things that interest me now”) to study art. But few of those admirers will be surprised to discover that afterwards she became a miniaturist of distinction.

In Blue Remembered Hills (1982), a painful and moving account of her early life, she describes her six-year-old self sitting with her legs stuck straight out in front of her, investigating and experiencing “to my heart’s content the foot or two of world going on around me … The turf was not just grass, but a densely interwoven forest of thyme and scarlet pimpernel, creamy honey-scented clover and cinquefoil and the infinitely small and perfect eyebright with the spot of celestial yellow at its heart.” Here is the eye of the young artist feeding the pen of the future writer.

Rosemary Sutcliff’s own pen had to be “fattened” and cushioned so that her arthritic hand could guide it—yet in her heyday she wrote 1,800 words a day in her elfin script on a single folio sheet and she made no fewer than three hand-written drafts of every novel before she was satisfied. She had just finished the second one in the evening before she died and there are two novels awaiting publication.

She was a professional and a perfectionist in her every endeavour and like so many of her heroes, she rose above apparently insuperable drawbacks.

  • SourceThe Guardian (London) July 27, 1992, p. 39—Obituary ‘Chronicler of Occupied Brittania’ by Elaine Moss

 

 

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Extract from Oxford Encyclopaedia of Children’s Literature on Rosemary Sutcliff.

Critics of Sutcliff’s work sometimes comment on its difficulty both in terms of the language she employs and in terms of the historical depth her novels embrace. But for Sutcliff herself, these sorts of evaluations of her writing were welcomed as compliments. She prided herself on never writing down to her readers, expecting them instead to be enticed into enjoying a compelling and demanding tale by the pageantry of history and the warm humanity of people in every era.

She carefully creates dialogue in her novels that recollects the speech of a bygone era without falling into what she termed ‘gadzookery.’ Sutcliff also researched her novels with exquisite care, and they reflect her vast knowledge of military tactics, religious practices, landscapes, and the material conditions and artifacts of everyday life whether in a Bronze Age village or in a Roman legion on the move.

Other commentators have noted the limited role that female characters play in her novels. Except for a few volumes that focus on a young woman, like Song for a Dark Queen (1978), which tells the tale of Boudicca, the queen of the Iceni who led a revolt against the Romans in a.d. 60, this is certainly true. Sutcliff often includes energetic and courageous women among her secondary characters, but providing insights into women’s roles in history is not among her greatest strengths.

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There is a detailed entry on “children’s literature” in the Brittanica Library (Ex Encyclopedia Brittanica?). Of UK children’s literature it claims:

The English have often confessed a certain reluctance to say good-bye to childhood. This curious national trait, baffling to their continental neighbours, may lie at the root of their supremacy in children’s literature. Yet it remains a mystery. But, if it cannot be accounted for, it can be summed up.

It also argues that:

In two fields … English post-war children’s literature set new records. These were the historical novel and that cloudy area comprising fantasy, freshly wrought myth, and indeed any fiction not rooted in the here and now.

Of Rosemary Sutcliff’s historical fiction:

There was fair reason to consider Rosemary Sutcliff not only the finest writer of historical fiction for children but quite unconditionally among the best historical novelists using English. A sound scholar and beautiful stylist, she made few concessions to the presumably simple child’s mind and enlarged junior historical fiction with a long series of powerful novels about England’s remote past, especially that dim period stretching from pre-Roman times to the coming of Christianity. Among her best works are The Eagle of the Ninth (1954), The Shield Ring (1956), The Silver Branch (1957), The Lantern Bearers (1959), and especially Warrior Scarlet (1958).

 

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Historical novelist and children’s writer Rosemary Sutcliff‘s obituary in The Independent newspaper.

Rosemary Sutcliff’s historical novels opened the eyes of a generation of children to the past. They also set a new standard for children’s historical fiction because of their insight, passion and commitment.

Sutcliff was a demanding writer who expected a lot from her readers which is why her books are also wholly satisfying for adults. She evokes time and place with an incredibly sure touch and – once she had found her true voice with The Eagle of the Ninth in 1954 – a sharp ear for the dialogue of the past. (more…)

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From a now discontinued blog by a Canadian, Robin Rowland:

The main theme of many of Rosemary Sutcliff’s books is the life of the soldier. Her father was a naval officer and she grew up in a military atmosphere. Although she was physically handicapped and spent part of her life in wheel chair, she captures the uncertain life of the intelligent human being who must become a fighter whether a member of a regular armed force or a warrior band or an individual trying to survive.

Sutlcliff had a unique viewpoint on the military, the insider who is also a somewhat removed observer, a combination of the kid sister although she had no siblings, the know-it-all cousin or neighbor, and the chronicler somewhat like Princess Irulan in Dune. Marcus Aquila Flavius thought he would be a career soldier, then finds the wound in his leg has changed his life….a fact of life facing many soldiers today. His descendent, Aquila, deserts his army to defend his home, becomes a slave and suffers throughout his life with what would, a millenia and half later, be called post traumatic stress disorder. Her soldiers are rounded human beings, with conflicting loyalties mixed with personal and family problems, always facing uncertainty in campaigns.

An academic might say that all this was reflection of the decline of the British Empire. Sutlcliff had liked Kipling as a kid and it could be said that her books are the Kipling stories of that declining empire. But as our society has become more uncertain in the years since she wrote, the books are more relevant than ever.

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A Crown of Wild Olive was the new title given to the Rosemary Sutcliff story The Truce of the Games (1971) when it was re-published ,in 1972 in the USA, in an omnibus collection of stories Heather, Oak and Olive. That collection also included two other stories: The Chief”s Daughter and  A Circlet of Oak Leaves.

Omnibus book of Rosemary Sutcliff

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