The Cruel Sea

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I listened to this in Swedish read by Tore Bengtsson. It was clearly read and not hard to follow, but the tone put me off. It felt like it was a man reading for other men. This is kind of hard to explain, but it is the definite feeling I get. Men in the company of other men speak this way. Add the presence of women and the tone changes. The narration I have given three stars. The ending is low-key, and I like this. The book gives readers a glimpse into another aspect of the Second World War. It is a book featuring so-called “fictional characters”, but it draws the true to life reality of the war as it played out for the men stationed on escort ships guarding convoys. I repeat—Monsarrat writes of that which he knows. a b Krueger, Christine L. (2003), Encyclopedia of British Writers, 19th and 20th Centuries, Facts on File, p.257, ISBN 0-8160-4670-0

So reading a book about large ships in sub-zero temperatures, two thousand miles from the nearest land and three thousand fathoms from the sea bed, written over 60 years ago- for all sorts of reasons, wasn't pushing itself massively in front of my nose to be read.Xuereb, Paul (March–June 2001). Cauchi, Prof Maurice N (ed.). "Nicholas Monsarrat (1910–1979)". The Gozo Observer. University of Malta, Gozo Centre. 1 (5). Archived from the original on 23 February 2007 . Retrieved 8 May 2011. This had been on my "to read" list for years. The notion of "war at sea" is not one that comes easily to me. I once had an argument with someone whilst rowing on Roath Park Lake. I got scared, because I was in a position of conflict with about 2 feet of water below me. It reminded me of the time, one balmy June day, when the clinker I was rowing in on the very warm Isis river sprung a leak. Two of the scariest moments of my life. HMS River" and "HMS Saltash" were fictional River-class frigates in H M Frigate (1946), and the novel The Cruel Sea (1951). (In the 1953 film version HMS Saltash was depicted by Castle-class corvette: HMS Portchester Castle, and hence named " Saltash Castle").

the time for sensibility was past, gentleness was outdated, and feeling need not come again till the unfeeling job was over." p. 106. The Reconciliation (1984) – TV film, directed by John Jacobs, starring Roger Rees, John Castle, Jim Norton, Meg Davies, teleplay by Roy Russell. The Royal Navy is now finally gaining the upper hand over the U-boats and Saltash adds to the growing number of kills due to Ericson's determination and patience. At the beginning, there was time for all sort of things - making allowances for people, and joking, and treating people like sensitive human beings, and wondering whether they were happy, and whether they - they liked you or not. But now, now the war doesn't seem to be a matter of men any more, it's just weapons and toughness. There's no margin for humanity left - humanity takes up too much room, it gets in the way of things.

This is good, very good, better than I I had expected. Years ago I had begun listening to this on a BBC broadcast. Such broadcasts are abridged, which is not to my liking! How can it be? There’s too many classics to choose from. Antiwar masterpieces like All Quiet on the Western Front and Fear. Literary opuses such as The Naked and the Dead and The Thin Red Line. Big, operatic epics like Herman Wouk’s The Winds of War and War and Remembrance. Once you start listing them, it’s hard to stop. Catch 22. The Things They Carried. The Red Badge of Courage. Even War and Peace can be classified here. A lot of great literature exists in this genre. The book serves to bring to life the historical accounts of the war, but it also opens up parallels that exist in our current lives. In the hear-and-now, stresses are also ever-present and they accumulate with time. We eventually lose our peace-of-mind to a constant and continuing struggle.

Ireland comes in for a lambasting; the country is potrayed as contemptible for remaining neutral and benefiting from the vital food and other supplies from North America, guarded by the Royal Navy, whilst at the same time allowing the Nazis to run an espionage base on their territory. Vagg, Stephen (27 July 2019). "Unsung Aussie Filmmakers: Don Sharp – A Top 25". Filmink. Archived from the original on 2 August 2020 . Retrieved 14 February 2020.

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HMS Marlborough Will Enter Port – TV film (1956), adapted from HMS Marlborough Will Enter Harbour, narrated by Ronald Reagan, produced by Revue Studios. Teleplay by George Bruce. This is a story of the Battle of the Atlantic, the story of an ocean, two ships, and a handful of men. The men are the heroes; the heroines are the ships. The only villain is the sea, the cruel sea, that man has made more cruel... Monsarrat's first three novels, published during 1934–1937 and now out of print, were realistic treatments of modern social problems informed by his leftist politics. The Visitor, his only play, was in the same category. [7] His fourth novel and first major work, This Is the Schoolroom, had a different theme. The story of a young, idealistic, aspiring writer experiencing the "real world" for the first time, it is at least partly autobiographical. I will finish with one of the best moments in the book, more than making up for any perceived false notes: the power of music to solace and to lift up our souls after tragedy. In a probably totally unrelated coincidence, the scene echoes the final scene from L'Amant by Jean Jacques Annaud, with the same composer and the same release of control on emotion: There's nothing flashy or 'modern' about this book, it's told in a steady, sober voice, starts at the beginning of the war, ends in 1945, with no parallel narratives, or time-switches - something no contemporary novel seems to be able to do without. And yet for all that this is more passionate, more engaging, and more tension-filled than many a thriller.

Monsarrat's first three novels, published in 1934–1937 and now out of print, were realistic treatments of modern social problems informed by his leftist politics. His fourth novel and first major work, This Is The Schoolroom, took a different approach. The story of a young, idealistic, aspiring writer coming to grips with the "real world" for the first time, it is at least partly autobiographical. The Cruel Sea". The Australian Women's Weekly. 20 May 1953. p.37. Archived from the original on 29 March 2021 . Retrieved 22 July 2012– via National Library of Australia. Today's economic participants are perpetually at sea and failure may very well be a sort of virtual death. Our livelihood, which is often synonymous with life itself, can be stolen by seemingly inhuman forces, which are easily hated. Our home ports are but a fleeting reprieve, sometimes despised for the temporary shelter that they represent. And we are constantly cast adrift, at sea, at war, again and again. You can really appreciate this was written by a person who had actually experienced these things, so the term historical “fiction” should be used loosely if describing this book. I found the book even better than the film. More depth, more emotional intensity, more to really get your teeth into.The novel, based on the author's experience of serving in corvettes and frigates in the North Atlantic in the Second World War, gives a matter-of-fact but moving portrayal of ordinary men learning to fight and survive in a violent, exhausting battle against the elements and a ruthless enemy. This is Nicholas Monsarrat's best work, in my opinion, and it falls into the "Must Read" category for WWII fans. Actually, it's the only Monsarrat book that really works for me as entertainment. I've read THE CRUEL SEA three times; every time the story just barely holds me to continue reading, and every time I find myself haunted for weeks afterward by some of the scenes. Is it a "Masterpiece?" Maybe. He loved the sea, though not blindly: it was the cynical, self-contemptuous love of a man for a mistress whom he distrusts profoundly but cannot do without. Thumim, Janet. "The popular cash and culture in the postwar British cinema industry". Screen. Vol.32, no.3. p.259. They surfaced in secret places, betraying themselves and their frustrated plans: they rose within sight of land, they rose far away in mortal waters, where on the map of the battle, the crosses that were the sunken ships were etched so many and so close that the ink ran together. They surfaced above their handiwork, in hatred or in fear, sometimes snarling their continued rage, sometimes accepting thankfully a truce they had never offered to other ships, other sailors.