Tag: books

The Books of Rosemary Sutcliff

Her Titles

A Rosemary Sutcliff  Bibliography

The widely read and acclaimed The Eagle of the Ninth, published in 1954, still in print, is just one of some sixty books by Rosemary Sutcliff. This post lists every book by Rosemary Sutcliff—author, historical novelist and children’s writer. For a short biography of Rosemary Sutcliff see Life tab.

Eagle of the Ninth and similar

The Eagle of the Ninth (1954) illustrated by C. Walter Hodges
The Silver Branch (1957) illustrated by Charles Keeping
The Lantern Bearers (1959) illustrated by Charles Keeping
The Capricorn Bracelet  (1973) illustrated by Charles Keeping
Three Legions (1980) is an omnibus edition containing the first three books
The Eagle of the Ninth Chronicles (2010) is an omnibus edition containing the first three books
The Eagle of the Ninth Collection Boxed Set (2012) is an omnibus edition containing the first three books

Camelot or King Arthur novels

Sword at Sunset (1963)
The Sword and the Circle (1979)
The Light Beyond the Forest (1979)
The Road to Camlann (1981)
The King Arthur Trilogy (1999), omnibus of The Sword and the Circle, The Light Beyond the Forest, The Road to Camlann

Other children’s and young adult novels

Chronicles of Robin Hood (1950)
The Queen Elizabeth Story (1950) illustrated by C. Walter Hodges
The Armourer’s House (1951)
Brother Dustyfeet (1952)
Simon (1953) illustrated by C. Walter Hodges
Outcast (1955) illustrated by Richard Kennedy
The Shield Ring (1956)
Warrior Scarlet (1957) illustrated by Charles Keeping
Lady in Waiting (1957)
Knight’s Fee (1960) illustrated by Charles Keeping
The Bridge Builders (1959)
Dawn Wind (1961) illustrated by Charles Keeping
Beowulf (1961) illustrated by Charles Keeping (also published as Dragon Slayer)
The Hound of Ulster (1963) illustrated by Victor Ambrus
The Mark of the Horse Lord (1965) illustrated by Charles Keeping
The Flowers of Adonis (1965)
A Saxon Settler (1965)
The Chief’s Daughter (1967)
The High Deeds of Finn Mac Cool (1967)
A Circlet of Oak Leaves (1968)
The Witch’s Brat (1970)
Tristan and Iseult (1971)
The Truce of the Games (1971)
Heather, Oak, and Olive  (1972), omnibus with three titles The Chief”s Daughter, A Circlet of Oak Leaves, and A Crown of Wild Olive (originally published as The Truce of the Games)
The Capricorn Bracelet (1973)
The Changeling (1974) illustrated by Victor Ambrus
We Lived in Drumfyvie (1975) with Margaret Lyford-Pike
Blood Feud (1976) illustrated by Charles Keeping
Sun Horse, Moon Horse (1977)
Shifting Sands (1977)
Song for a Dark Queen (1978)
Frontier Wolf (1980)
Eagle’s Egg (1981)
Bonnie Dundee (1983)
Flame-Coloured Taffeta (1986) illustrated by Rachel Birkett
The Roundabout Horse (1986)
A Little Dog Like You (1987) illustrated by Jane Johnson
The Best of Rosemary Sutcliff (1987) omnibus edition contains Warrior Scarlet, The Mark of the Horse Lord and Knight”s Fee
Little Hound Found (1989)
The Shining Company (1990)
The Minstrel and the Dragon Pup (1993) illustrated by Emma Chichester Clark. 
Black Ships Before Troy (1993) illustrated by Alan Lee 
Chess-dream in the Garden (1993) illustrated by Ralph Thompson
The Wanderings of Odysseus (1995) illustrated by Alan Lee 
Sword Song (1997)

Novels for adults

Lady in Waiting (1957)
The Rider of the White Horse (1959)
Sword at Sunset (1963)
The Flowers of Adonis (1969)
Blood and Sand (1987)

Non-fiction

Rudyard Kipling—A Monograph (1960)
Houses and History (1960)
Heroes and History (1965), illustrated by Charles Keeping
Arthur Ransome, Rudyard Kipling and Walter De La Mare (1968) (with Leonard Clark and Hugh Shelley) [reproduces the Rudyard Kipling mongraph—above]
Is Anyone There? (1978) (with Monica Dickens)
Blue Remembered Hills (1983) (Her autobiography, or ‘memoir’ as she called it)

Rosemary Sutcliff to BBC Radio Times in 1977 on her historical novel The Eagle of the Ninth and hero Marcus

When the BBC adapted and broadcast Rosemary Sutcliff‘s historical novel The Eagle of the Ninth in 1977, the BBC Radio Times wrote about her approach to children, writing, the Romans and her hero Marcus—’part of me was in love with him’.

Her passion for the Romans stemmed from her childhood. Her mother read aloud to her from books like Rudyard Kipling‘s Puck Of Pook’s Hill.  His three Roman tales entranced her.

I didn’t read myself till the last possible minute, about nine. I was brought up on Arthur Weigall’s Wanderings In Roman Britain and Wanderings In Anglo-Saxon Britain. He mentions this eagle dug up at Silchester and I’ve been fascinated by it since I was five.

Continue reading “Rosemary Sutcliff to BBC Radio Times in 1977 on her historical novel The Eagle of the Ninth and hero Marcus”

Rosemary Sutcliff, world-acclaimed historical novelist and writer for children, young adults & adults wrote 57 distinct books

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Collection of Rosemary Sutcliff covers via Google Images March 2016

This much Rosemary Sutcliff knew | A virtual interview with the award-winning historical novelist and writer for children

Rosemary Sutcliff (b. 1920; d. 1992) was internationally-acclaimed for her writing for children and adults, the subject of many magazine profiles. But sadly she is no longer alive to create a ‘This much I know’ feature in The Observer newspaper’s magazine. But this much she did know—revealed within her answers to Roy Plomley on BBC Radio’s Desert Island Discs.

Acclaimed internationally for her historical novels and books for children, Rosemary Sutcliff (b. 1920; d. 1992) was the subject of many magazine profiles. Sadly she is no longer here to create pieces like the ‘This much I know’ feature in magazine of The Observer newspaper. But this much she did know, as revealed in her answers  late in her life to Roy Plomley’s questions on BBC Radio’s Desert Island Discs. Photos of Rosemary Sutcliff, historical novelist and children’s writer

A spinal carriage is like a coffin. It is very uncomfortable. You lie flat out in this ‘thing’, and all you can see the are branches of the trees or the roofs of the houses going by overhead.  It is extremely boring.

I didn’t learn to read for myself until I was very old — I was nine before I could read. I think this was because my mother read aloud to me so much. Chiefly I had books read to me, which is a thing I love to this day.

I think it honestly never occurred to my parents that a child growing up and going through her teens required other young people. I was never allowed to bring friends home. They were very understanding; nobody could have had nicer parents. But they were very sufficient unto themselves.

Miniature painting is cramping. I was a good craftswoman—but I always had this feeling of having my elbows tucked too close to my sides when I was doing it. I gave it up to write. And I could write as big as ever I wanted to, I could use an enormous canvas if I wanted to.

I feel most at home in Roman Britain. I always feel it’s perhaps a little shameful to be quite so at home with the Romans, because they really were a very bourgeois lot, but I do feel very at home with them; I feel, ‘Here I am back at home again’ when I get back into a Roman story.

I think I do believe in reincarnation. I hope I do, because I think it’s the one thing that makes sense, that makes for justice and a really sensible pattern to life.

I can only create from the top of my head, down my right arm, and out of the point of my pen. So, I write in longhand.

I start with an idea; never a plot. I’m not very strong on plots, but I start from a theme, which grows from the idea. I do have a certain amount of framework: I’ve got to know how I’m going to get from the beginning to the end, and a few ports of call on the way.

I do not write to a standard length. I do not know how long a book’s going to be. I find that a book takes its own time and gets to its own proper ending place.

I take great pains that details should be right. I am quite shameless about writing to people—people who know about breeding horses, or whatever it is—and asking a particular question. People are usually very kind about sharing their own expertise. I do rely very much also on the feeling ‘does this smell right’, ‘does it have the right feel to it?’.

I don’t think I’m a particularly masculine kind of woman—although most of my books are told from a male point of view. I can’t write about girls from the inside. I don’t think the absence of sexual encounters is because I’m writing for children—I don’t honestly know why, it’s just happened that way.

I don’t know whose decision it was not to marry. The situation became impossible. My own family was so against it. People’s feelings were very different in those days to what they are now, about anybody with a disability being allowed to have any emotions. Neither of us were very grown up and we just couldn’t cope. So that was that.

Source:  BBC Radio’s ‘Desert Island Discs‘.

A major theme of many of writer Rosemary Sutcliff’s books is the life of the soldier, with a unique viewpoint, said Canadian blogger

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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