Rosemary Sutcliffe's "The Rider on The White Horse"

 

 

 

Reviewed by M. J. Logue

 



I make no apologies for my first review for this blog being an old-fashioned, out of print novel, one of Rosemary Sutcliff's lesser-known books.

In fact, I'm reviewing it in the hope that people will once again turn to this simple, tender, moving portrayal of the relationship between Thomas Fairfax, Commander-in-Chief of the Army of Parliament during the English Civil War, and his plain, brown, feisty wife Anne.

It's no epic courtly love story. Quite the opposite: the story of a plain woman who comes to love her principled and honourable husband with a passion that frightens her, in the uncomfortable self-knowledge that he will, in all probability, never see her in the same way as she sees him. There is little glamour in their love story, little chivalry, little courtliness. Despite its setting in the England of the 1640s, we are not in the realms of lace and glittering satins, but of buff and steel, of hunger and  danger and tragedy. Of the little commonwealth of a small manor in Yorkshire, thrust all unwilling into war, and of a woman's fear for the man she has come to hold precious.

As ever, Rosemary Sutcliff's skill lies in her ability to weave a tale around the tiny domestic details of a household that stick in the reader's memory long after the last page: the honeyed scent of the snowdrops on a table, the whiff of tobacco smoke and a golden sunset over the Yorkshire Dales. The Fairfax of Ms Sutcliff's writing is not an articulate, poetic courtier, but an awkward, rather diffident soldier - and a reader expecting grand declarations may wonder what on earth the fiery Anne sees in him at times, this decent, kind, stiff, rather too honourable gentleman whose idea of a compliment is to tell her she looks "bonnie in t'firelight".

Nor - this book having been written in 1959 - is there a deal of sexual tension. But indeed, it would have jarred, had there been explicit physical loving in this story. I am still not sure - having read this book every year without fail, for the last 20 years, having cried at exactly the same parts every time, at the death of Captain Smith and of the baby Elizabeth - I still couldn't say with any degree of certainty whether or not Thomas Fairfax ends the book by returning his wife's love, not physically. But then, as Anne says, “You could not hold a winged thing; you could not even perfectly remember it afterward, for that, too, was a kind of holding.” Whatever it is, is enough.

No, I love this book. I would like more people to love it. Some of the historical accuracy is shaky, but the battle scenes are stirring and moving, and the relationships drawn with a tenderness that can be heartbreaking. Sutcliff's dialogue is almost perfect in its simplicity, of things not said but felt with the heart.

Amazon

Historical Romance during the English Civil War

Gillian Bradshaw's
London in Chains

While this is a romance, that is not its strength. The romantic elements are not really developed as opposed to the historical context and background that Ms. Bradshaw provides us in what becomes an excellent glimpse into a time that perhaps most know little about.

London, after the victory of Parliament over Charles I was not all celebration and happiness, but was in turmoil, the victors fighting over the spoils of war as happens frequently when the victors are not led by one mind. We see this as our heroine comes to London for the first time and has to deal with allies who were oppressors, family that loves and hates her, and a city that is tightly held in an inflationary spiral which happens when a country has been beset by a war that has ravished it.

Add the religious pressures that Parliament was suffering as well to this mix where all those who know the truth of their vision of god tried to wrest control of the nation, and London is indeed in Chains as Ms Bradshaw names the book. What we see also is the rise of printing in this era and a comment that is made, about how no General would dare go to war without their own press, (which reminds me a great deal of Douglas Macarthur) and we see that our Heroine is poised to show us a glimpse of this period that I had no idea of. Before this work, I thought Parliament won, Charles was incarcerated and eventually Parliament voted to behead him, and then Cromwell was made supreme. Yet much was to be done before that happened as I now know. (I am a product of the US education system)

Though there is a romance for our Heroine, and some little time is devoted to it, it does not seem fully fledged as the hero of this action is taken away off stage. That there is some interaction and words between hero and heroine to put the building blocks for a relationship and that they view each other philosophically similarly might breed true, but still, if romance be ones first inclination, more should take place. If History is what you would like to delve into in a period piece, than look no further for the period of 1647 and 1648 one can do little better. At every turn of the page Ms Bradshaw is able to add depth to her world, painting with words details that little occurred to me, but that I think all would find enriching. I recommend this to those who find history of an interest in their reading.

At Amazon US or at Amazon UK

Reviewed by David