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)
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)
Collecting views about Rosemary Sutcliff’s (1920-92) best book of all her historical fiction, and children’s and young adult literature.
I am trying to collect here in the comments (and via Twitter @rsutcliff) people’s views about which is Rosemary Sutcliff’s best book, and why….
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).
Joe Abercrombie is a writer of fantasy novels for adults, including the First Law Trilogy (The Blade Itself, Before They Are Hanged, and Last Argument of King). He has now turned his attention to ‘young adults’, with his first YA fantasy book Half a King.
On bookseller Waterstones blog he comments that after writing several fantasy novels for adults he “felt the need to try my hand at something at least slightly different”. He turned to a novel for young adults. He was influenced by Rosemary Sutcliff whose books were “full of authenticity, honesty, moral ambiguity, shocks and tough choices. These were not books that ever preached, or talked down to their audience”.
I was at a ‘zany zone’ with my children one day…soft play, ball bath, slides, you know the type of thing. There happened to be a boy with a malformed hand there, who was having some trouble joining in fully with the rest. I was thinking how tough that must be. Then I started thinking how much tougher it would be in the medieval sort of world I tend to work in. Especially in a Viking or a Saxon inspired world, where fighting in the shield wall was at the heart of their culture. Where standing strong with your brothers, and holding a shield for the man at your shoulder, was the mark of being a man. And that was the seed for Half a King.
… My main touchstones in the young adult arena were things I read and loved when I was younger – notably Rosemary Sutcliff’s historical books (Blood Feud especially) and John Christopher’s post-apocalyptic The Sword of the Spirits. These were books full of authenticity, honesty, moral ambiguity, shocks and tough choices. These were not books that ever preached, or talked down to their audience. I started from the standpoint that young adults are, above all, adults. Just young ones. What they want to read isn’t radically different from what old adults (like me) want to read. People in that 12-18 age range are dealing with serious issues of sex, money, identity, responsibility. The last thing they want to be is talked down to. What adult does?
So my aim was not to pull the teeth of my existing style, but to modify it for a new audience, a younger adult audience, but also a wider adult audience who might have found themselves turned off by the big size of some of the fantasy out there. To write something shorter, tighter, more focused, perhaps a smidge less cynical and pessimistic. A slap in the face on every page. No wasted space. Simpler in its narrative, perhaps, but certainly not simpler in the way it was written or in the themes that it tackles. Something a little less explicit in the sex, violence and swearing but absolutely with the edges left on, with the same shades of grey, moral complexity, shocks and challenges, visceral action, and rich vein of dark humour that I fondly imagine my other books have offered. Whatever I came up with, I wanted it to retain the strength of my other work, to bring new readers to that work, and absolutely to appeal to the readers I already had.