”Thus The Eagle of the Ninth (1954), while containing at least one darkly numinous and certainly trans-real scene when its hero Marcus discovers the lost legion’s missing standard in a British shrine, is told very much in the manner of a tale of the Imperial Northwest Frontier, with Marcus in the role of English subaltern and the Druid-inspired uprisings reminiscent of Indian struggles against the Raj. While rarely straying beyond the boundaries of what could have happened in the later centuries of Roman rule in Britain and the succeeding Dark Ages, Rosemary Sutcliff, like her mentor Rudyard Kipling, set herself to describe history as part of a temporal tapestry.” Rosemary Sutcliff’s “masterpieces of historical fiction are vivid re-creations rather than attempts to portray historical fact through story. Collection of Rosemary Sutcliff covers via Google Images March 2016 According to The Encyclopedia of Fantasy (1997) the “ability to create a realistic historical novel for children is in a sense one of the most testing challenges of the fantastist’s art” requiring “an imagination … powerful enough to create startling pictures of what could have been.”
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