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The Rider of the White Horse by Rosemary…
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The Rider of the White Horse (1959)

by Rosemary Sutcliff

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673178,380 (4.38)4

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While Rosemary Sutcliff's writing is always good -- she knows just how to pick out the bright and dark points to illustrate a scene with graceful simplicity: maybe the light of a fire flickering, maybe a moth fluttering around a candle, maybe the treasured glasses that are remnants of an earlier time filled with wine for once... -- it turns out I'm not that interested in this period, or at least, not in her attempts at writing this period. It hardly seems likely that a Sutcliff book failed to keep my attention, but it's unfortunately true.

I'm giving it three stars anyway, because it's Rosemary Sutcliff and therefore always a pleasure to read. ( )
  shanaqui | Apr 9, 2013 |
the historical background is thoroughly researched, its an evocative picture of a fascinating period of British history, with a sense of place as well as of time. And an absorbing love story and easy to read. One of my favourite historical novels. ( )
  CommonReeda | May 4, 2009 |
This is how research in historical fiction should be presented: detailed, informative, but unobstrusive and secondary to the story. Rosemary Sutcliff is known primarily for her children's stories, but this fictional account of Sir Thomas Fairfax during the English Civil War is a thoroughly mature and serious portrait of history and of a marriage (his wife, Anne, is a courageous and selfless heroine). It also helps that a section of the book is set in my home town! ('Pity poor Bradford', indeed!) ( )
  AdonisGuilfoyle | May 14, 2008 |
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Author nameRoleType of authorWork?Status
Rosemary Sutcliffprimary authorall editionscalculated
Goudge, ElizabethIntroductionsecondary authorsome editionsconfirmed
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It had been one of those days when, with more than half the winter still to come, the year quickens, and suddenly, faint but unmistakable as the sound of distant trumpets, the promise of the far-off spring is in the air.
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"Oddly enough, I didn't start as a writer, but a painter. I did quite well too, after several years' hard work at art school, becoming a member of the Royal Society of Miniature Painters in my late twenties, with writing only a secret vice. But little by little writing encroached on painting, until, about my third book, I realized that I had undergone a complete switch, and I was no longer a painter who also wrote, but a writer who used to paint but didn't really want to anymore. I have never wanted to paint again; I loved it in its day, but it never gave me the fulfillment that writing does."
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