Arthur Ransome at the Langham

An unsigned portrait by Cyrus Cuneo executed at the Langham Sketching Club c.1914

Arthur Ransome and the painter Cyrus Cuneo were both members of the Langham Sketching Club in London. An unsigned portrait of a balding, moustached gentleman, has come to light that is believed to be a sketch of Ransome dated between 1912 and 1914. He is wearing a round glasses, a stiff white collar and sandy-coloured jacket, painting at a desk in front of dark bookcases. You can just see a hint of the pipe in his mouth.

In 2021, Rosebery’s Auctions in London listed this 45.5cm x 30cm oil-on-board painting in their catalogue as ‘a portrait of the artist’ Cyrus Cuneo, but he was dark, clean-shaven and heavy shouldered, having been a professional boxer, as depicted below. When this was pointed out, Rosebery’s replied that it was, ‘just a self-portrait of an artist at the Langham.’ The setting is backed up by a label on the reverse, but the painting is unsigned.

Cyrus Cincinnato Cuneo, special artist of the Illustrated London News, pictured at work.

The painting is similar to the portrait Dora Altounyan painted of Arthur Ransome in early 1932, which was bequeathed by Evgenia Ransome to Abbot Hall museum in Kendal, now curated by Lakeland Arts. He is wearing exactly the same kind of jacket, but has hair the same colour, with a shorter haircut.

Arthur Ransome, aged 48 by Dora Altounyan (c) Altounyan family Lakeland Arts Trust http://www.artuk.org/artworks/arthur-ransome-18841967-145234

In photographs taken before the First World War, Ransome’s hair looks fuller and darker but could, presumably, have been lathered with pomade. He is wearing the pince-nez glasses and holding the same design of pipe in the photo used on the cover of Hugh Brogan’s The Life of Arthur Ransome taken in 1907 when he was twenty-five and kept by his daughter, Tabitha.

Ransome aged 25 in about 1909

He had lost a lot of hair by the time he was photographed skipping down a lane with Tabitha, in 1917 as can be seen in this and another archive shot kept at the Brotherton Library in Leeds.

(c) Leeds digital

The Langham Sketching Club was set up at a stable yard in Gray’s Inn Lane in 1823 as ‘there was a need for a society where professional men could develop life drawing, improve work standards and meet in the company of like-minded artists’. It moved to 1 Langham Chambers, All Souls Place, London WI in 1938 and was henceforth known as The Langham, not to be confused with the Langham hotel.

JP Gulich’s painting of the Langham at about the time Ransome was sketching there, shown here by permission of the Langham Sketching Club

Artists met for two hours every Friday evening in the winter to sketch, take dinner and chat. Members still gather today, bringing food for a candlelit dinner. Ladies were not incorporated until 2018 but there are now as many women as men. They meet on Wednesday evenings in The Upper Hall at St Columba’s in Pont Street.

The Langham only closed after being bombed in WWII – but went online during Lockdown (c) David Eccles 2021

Cyrus Cuneo, who studied art in Paris under Whistler, joined ‘The Langham’, as it is known, about 1903 and became Chairman in 1908. His son, the artist Terence Cuneo, was born in 1907. Cyrus sadly died of blood poisoning in 1916 after getting scratched by a hat pin at a dance, but his wife and biographer, Nellie Cuneo described ‘some gay, mad times’. Fellow members included the equine artist Alfred Munnings and Arthur Ransome. A reference in early 1914 states: ‘About this time Cyrus gave up doing the two hour sketches at the Langham Sketch Club, and started doing portraits of the members at work. Afterwards some of these were sold to sitters, who included Arthur Ransome.’

Arthur Ransome? At what age? The ears and cheeks are particularly characteristic. Photo(c)Sophie Neville

How well does this painting compare with a photographic portrait dated 1932? The eyebrows look right.

In Bohemia in London, published in 1907, Arthur Ransome writes: ‘Another famous artists’ club is the Langham Sketch Club, whose rooms are close behind the Queen’s Hall. Artists meet there regularly, and draw and make pictures all in a room together, with a time limit set for the performance. At intervals they exhibit the harvest of their evenings on the walls. They also have merry parties, for men only, when the doors are opened by fantastical figures, and scratch entertainments go on all the time, and there are songs and jovial recitations. Nights are as merry as any, and the rooms are full of celebrated men, and men about to be celebrated; for the club does not tolerate bunglers.’ (In the Studios p.81)

Steven Spurrier’s illustration for Swallows and Amazons, a version of which was used on the cover when it was first published by Jonathan Cape in 1930

The artist Steven Spurrier, who drew the iconic map of Ransome’s ‘Great Lake in the North’ used on the dust jacket of the first editions of Swallows and Amazons, joined the club in 1906. He sketched groups sitting at different levels, on an assortment of furniture, as they drew. Some are balding and mustached, pipe smoking gentlemen, sketching under electric light. Most are wearing a jacket with a collar and tie. One could almost be Ransome.

Steven Spurrier RA, RBA,ROI (1878-1961) worked in charcoal or ink and wash, capturing the informal atmosphere. Did Ransome ever meet him at the club? He so loathed his illustrations commissioned by Jonathan Cape that, apart from the map, they were never used. Clifford Webb took on the challenge before Ransome produced his own line drawings and maps for Peter Duck, as if they had been drawn by his characters.

Nellie Tenison Cuneo illustrated a large number of books including The Girl Crusoes: A Story of the South Seas by Mrs Herbert Strang. Take one look at her paintings of girls with boats inside and you can imagine the impact they would have on Titty’s character.

Illustrations by Nell Cuneo

Carole Cuneo, President of the Cuneo Society, recognised the portrait. ‘Yes, definitely by Cyrus, from the Langham Sketch Club, and definitely of Arthur Ransome.’ Although, as quoted above, her grandmother claimed, ‘some of these (portraits) were sold to sitters, who included Arthur Ransome’ one can only presume that he did not buy this one. Could there be another?

Carole first knew this picture in the 1950’s. It hung on the wall of her father, Terence Cuneo’s studio at Ember Lane in East Molesey, London, until after his death in 1996, when she inherited it. Carole clearly remembers Terence saying it was a portrait of Arthur Ransome. She had sold it, with other paintings to Sim Fine Art in about 2011, when it was sold again before turning up at Rosebery’s auction. It was purchased for £480, just under the estimated price, by the editor of the Cuneo Society Journal. Carole has provided him with a written statement to record the painting’s provenance for the future. He contacted me to find out about other portraits of Ransome and I was able to see the framed painting at his house in 2021. This shows an open box of paints and a vessel that could have held water. Magnus Smith of The Arthur Ransome Society points out that whilst Arthur Ransome’s pencil sketches and pen and ink drawings are well known, did he ever use paints?

Sophie Neville with the portrait by Cyrus Cuneo

Cyrus Cuneo, who exhibited at the Royal Academy, Royal Institute of Oil Painters and Glasgow Institute of Fine Art, was a distinguished illustrator and figurist, originating from America. If this is a hither-to unknown portrait of Arthur Ransome, it is an important discovery that will be of interest to the Arthur Ransome Trust, Lakeland Arts and members of The Arthur Ransome Society worldwide.

Ref: ‘Cyrus’ Ransome’ by David Bennett, Cuneo Society Journal Vol 5 Number 2

You can read more about Cyrus Cuneo here and about the history of the Langham Sketching Club here.

Terence Cueno’s art studio can bee seen in this film but I couldn’t spot the portrait of Ransome.

The prolific artist Terence Cuneo, Cyrus’s son

First published in Mixed Moss 2022, the Journal of The Arthur Ransome Society

Dame Virginia McKenna and her work on the classic film ‘Swallows and Amazons’ (1974)

Virginia McKenna in 'Swallows and Amazons' (1974) by the film poster artist Arnaldo Putzu
Virginia McKenna in ‘Swallows and Amazons’ (1974) immortalized by the film poster artist Arnaldo Putzu (c) StudioCanal

I was so thrilled to read that Virginia McKenna has been awarded a DBE for services to wildlife conservation and to wild animal welfare in the New Year Honours. When I last spoke to her, she was working tirelessly for the Born Free Foundation that she co-founded with her son Will Travers OBE.

I first met Dame Virginia in 1973 when she agreed to star in the first big screen adaptation of ‘Swallows and Amazons’, produced by Richard Pilbrow, directed by Claude Whatham and released by EMI Films in 1974. She played the part of my mother, Mary Walker. The movie was shot entirely on location in the Lake District where Arthur Ransome set his classic series of children’s books.

Virginia McKenna at Bank Ground Farm
Dame Virginia McKenna at Bank Ground Farm in 1973 ~ photo: Daphne Neville (c)

The film has been broadcast on British television more than any other but it is when you watch it on the big screen that you can appreciate what made Virginia McKenna such a great star. Her face conveys a thousand tiny emotions that sweep you into a long-forgotten time when children were able to run free. 

Virginia McKenna holding the telegramme
Dame Virginia McKenna on location at Bank Ground in Cumbria ~ photo: Daphne Neville (c)

Dame Virginia had originally been scheduled to come up to Cumbria for the first ten days of the seven-week shoot but, since wet weather closed in, she was obliged to return when the sun came out for the famous scene when Roger tacks up the field at Holly Howe to receive ‘despatches’ in the form of the cryptic telegram BETTER DROWNED THAN DUFFERS IF NOT DUFFERS WONT DROWN. 

Virginia McKenna with Hairdresser Ronnie Cogan
Dame Virginia McKenna with Ronnie Cogan ~ photo:Daphne Neville (c)

Dame Virginia enjoyed the discipline and focus of concentration on set and helped centre us from the start. If you watch other movies made at the time, such as ‘The Railway Children’ (1970), most of the adult actresses are wearing wigs with a district nineteen-seventies feel to their costume and make-up.  ‘Swallows and Amazons’ owes its timeless appeal to the fact that Virginia simply had had lovely thick hair scooped into a bun and wore her original 1929 garments with grace.

Sophie Neville as Titty
Sophie Neville as Titty in 1973 – photo: Daphne Neville (c)

I played Titty Walker who inveigled her mother into playing Man Friday to her Robinson Crusoe when she came to visit Wild Cat Island. The sequences were shot on Peel Island on Coniston Water where Ransome was taken as a boy by his own parents and met the Collingwood family in the 1890’s. He later became a good friend of Dora Collingwood whose five children became the inspiration for the story ‘Swallows and Amazons’. Her third daughter, the dreamer, was nicknamed Titty.

Virginia McKenna and Sophie Neville on Peel Island
Dame Virginia McKenna and Sophie Neville on Peel Island ~ photo: Daphne Neville (c)

It can not have been easy for Virginia to act with me, a child of twelve, while frying pemmican in butter on a camp fire. I was self-conscious about having lost an eye-tooth the night before and had rather a sore mouth and she later had to row from the island with a 35mm Panavision camera in her boat.

What I’d forgotten until recently was that Bill Travers watched the filming that day on Peel Island. He’d been a hero of mine ever since he played George Adamson in ‘Born Free’ and Gavin Maxwell in ‘Ring of Bright Water’ opposite Virginia. Their film, ‘An Elephant Called Slowly’, was released as a double bill with ‘Swallows and Amazons’

You can see a few more behind-the-scenes photos here and I’ve written more about being Robinson Crusoe here.

Virginia McKenna with Sophie Neville
‘They were very savage savages’ ~ Virginia McKenna with Sophie Neville ~ photo: Daphne Neville (c)

Looking back, I realise how fortunate we were to be able to play out the scenes from the iconic book in the actual locations, such as Bank Ground Farm where the Collingwood children had stayed one holiday as children, so they could visit their grandparents who lived at Tent Lodge next door and were too unwell to have them in the house.

The Walker Family at Holly Howe
Sten Grendon, Simon West, Virginia McKenna, Suzanna Hamilton and Sophie Neville at Bank Ground Farm, in 1973 ~ photo: Daphne Neville (c)

We were not so keen on the publicity photographs taken for the film even though Virginia tried to make it fun. Right from the the very first day of filming, she worked hard to bring us together as a cast, playing games such as ‘Consequences’ to help us laugh and relax, while concentrating on the task of bringing the book to life.

The Walker family played by Suzanna Hamilton Stephen Grendon, Sophie Neville, Virginnia McKenna and Simon West at Bank Ground Farm in Cumbria
Suzanna Hamilton Sten Grendon, Sophie Neville, Dame Virginia McKenna and Simon West – photo Daphne Neville (c)

In 1980, I went to work for Ginny and her husband Bill Travers, as a housekeeper for a few months. She needed domestic help while she was appearing with Yule Brynner in ‘The King and I’ at the London Palladium, for which she won an Olivier Award for Best Actress in a musical.  I looked after her youngest son, Dan, who later worked as a safety officer and consultant on the 2016 film of ‘Swallows and Amazons’. I met him at the cast and crew screening in Leicester Square.

– Dan Travers and Sophie Neville in 2016 –

Ginny and I kept in touch. She was ever-supportive, encouraging me to keep raising funds for anti-poaching in South Africa, where she had been evacuated as a child during WWII. 

It was only when I heard her speak at the Kempsford  Literary Festival in the Cotswolds that I learnt that other ships in her convoy to Cape Town had been torpedoed and sunk crossing the Bay of Biscay. By some miracle, her ship had been delayed in Liverpool but she described finding the flotsam left by the ships that had been hit.

Having written a number of books herself, Ginny encouraged me to write, urging me to keep focused on one thing.

Virginia McKenna at Bank Ground

Her letters and cards also inspired me to keep raising funds for wildlife conservation in Africa.

Merry Christmas African animals card design by Sophie Neville
A Christmas card design by Sophie Neville

In turn, I supported the Born Free Foundation, printing them greeting cards, donating a Christmas card design for their catalogue and a picture that was auctioned at the Big Cat Open Day in Kent.

Sophie Neville with Virginia McKenna in about 2000
Sophie Neville with Virginia McKenna in about 2001 – photo Daphne Neville (c)

In 2014, StudioCanal invited us both to appear in the DVD Extras package for the 40th anniversary DVD of ‘Swallows and Amazons’ (1974). While we were waiting for the crew, she told me that she’d appeared in more than thirty movies. I know she’s made a few more since then.

You can watch her interview here:

Interview with Virginia Mckenna

I released the first edition of ‘The Making of Swallows and Amazons’ for which Virginia graciously provided a quote. You can read the first few pages in the preview of the ebook, entitled ‘The Secrets of Filming Swallows and Amazons 1974’ here

To hear Virginia and her son Will Travers talking about receiving her DBE, please click here for BBC Sounds

~ ‘The Secrets of Filming Swallows & Amazons 1974’~

Launching the audiobook of ‘The Making of Swallows and Amazons’ (1974) narrated by Sophie Neville who played Able seaman Titty

In the long hot summer of 2022, I spent three days in a sound-proofed booth at Monkeynut Studios near Romsey narrating the audiobook of my memoir on the adventures we had making the 1974 movie ‘Swallows and Amazons’, now published in paperback by The Lutterworth Press. I found narrating the story, with all the different voices, more difficult than I had imagined but the audiobook has been beautifully produced, with sound adding a different dimension to this extraordinary filmography that resonates with the lives of so many.

Sophie Neville at Monkeynut Recording Studios

You can listen to a free sample in the Audiobook Store here

There are a number of different online retailers. It is available on Spotify:

The audiobook of The Making of Swallows and Amazons (1974) by Sophie Neville

Kobo have this deal:

Scribd stock it, along with a couple of articles from Practical Boat Owner, but I did not narrate those. It might be better to read them online.

You can listen to this true life story on audiobooks.com

It is also available on Google Play and from audiobookstore.com who have it on a special price here. This must be the American version:

Storytel have it for sale in rupees.

I gather it will be available on Audible but they are very slow to add books.

I hope it will take you back to that long hot summer in 1929 when the Swallows first set sail and remind you of the early 1970s when we made the original film in the days before mobile phones or computers without CGI or green screens. We literally walked into the page of the books and sang out Arthur Ransome’s immortal lines as the wind took us up Coniston Water. I hope you enjoy it.

Swallows and Amazons (1974) (c)StudioCanal

If you prefer holding a book in your hands the paperback is available from Waterstones and all online retailers.

Swallow, the dinghy that starred in ‘Swallows and Amazons’ (1974)

Sten Grendon as Roger and Sophie Neville as Titty rowing Swallow
(c)StudioCanal

BBC Antiques Roadshow featured Swallow, the dinghy used in the original feature film of ‘Swallows and Amazons’ in their first episode at Windermere Jetty repeated recently on BBC One. You can read about how she was valued by Rupert Maas on an earlier post on this blog here.

I wrote a little more about her history in an article for Practical Boat Owner, Britain’s most popular sailing magazine. The story opens in 2010, when I nearly bought her myself:

Swallow is coming up for auction,’ my father said, sending me the details of a clinker-built sailing dinghy stored in Mike Turk’s warehouse in Twickenham. It was the Spring of 2010. I took one look at the online photographs and wept.

Swallow stored in Twickenham

The letters WK were carved on her transom. It was the twelve-foot, all-purpose, run-around vessel built by William King of Burnham-on-Sea that had been purchased by Richard Pilbrow in 1973 to feature as Swallow in the original feature film of Arthur Ransome’s classic novel Swallows and Amazons.

Swallow built by William King of Burnham-on-Crouch

I knew the little ship intimately. She looked a bit dried out but my husband thought we ought to buy her. I had played the part of Able-seaman Titty, the nine year-old girl who Ransome so cleverly made into the heroine of the story when she grabbed a chance to capture the Amazon, which enabled the Swallows to win the war set to determine ‘who should be the flag-ship’. In mooring her prize overnight near Cormorant Island, Titty witnessed Captain Flint’s stolen treasure chest being buried and was eventually able to rescue it. She was rewarded by the gift of a green parrot.

‘Did you know how to sail before playing Titty in Swallows and Amazons?’ people often asked. The truth was that I had crewed for my father in a similar dinghy and felt confident in a boat. I had grown up living by a lake in the Cotswolds where we had a Thames skiff, which I was used to handling. This was important as Titty does quite a bit of rowing in the film. She and Roger become galley-slaves rowing back from the charcoal burners’, they row out to Cormorant Island and she takes the Amazon out of Secret Harbour. This I did alone, in one take, later rowing some distance from Peel Island with the lighting cameraman and his 35mm Panavision Camera onboard. No one had thought about the implications of this when we first tried out the two boats on Windermere but being aged twelve, rather than nine, I just about coped and grew adept at launching Swallow and moving about in her. As the book was written in 1929, we did not wear life-jackets.

Swallow with Simon West and Suzanna Hamilton (c) StudioCanal

Arthur Ransome described Swallow as being thirteen-foot long with a keel, rather than a centre board. In the illustrations she is painted white, a common way of protecting wood in the 1930s. I am pretty sure that Richard Pilbrow, the producer of the movie, bought the dinghy we used when we where in Burnham-on-Sea to audition for the parts in March 1973. She was varnished but had, or was given, the red-brown sail and balanced lug-sail as described in the books.

Simon West who played Captain John, aged only eleven, was a capable sailor with an understanding of the wind that enabled him to cope with gusty Lakeland conditions. Swallow had no buoyancy. In the scenes when we first sail to the island she was laden with camping gear, including heavy canvas tents, the lighthouse tree lantern and a shallow basket of kitchen utensils I shifted every time we went about.

My father Martin Neville on the shore of Coniston Water

My father was an experienced sailor, used to racing yachts having frequently crossed the Solent in his own clinker-built dinghy as a boy. He was looking after us children when he agreed to appear in costume as a ‘native’ aboard the MV Tern on Windermere, which bares down on the Swallows in the story. He watched, terrified, as we sailed towards it. The Victorian steamer only had a notch throttle and an inexperienced skipper. He realised that Claude Whatham, the film director had not anticipated the fact that we would lose our wind in the lee of the passenger ferry and gave Simon a cue over the radio that was far too late. We only just went about in time, being pushed away from the larger vessel by the bow wave. Watch the film and you can see how very close we got. I was about to reach out and feebly fend off.

Dad spoke sternly to the producer that afternoon, pointing out that we could have all gone down. Sten Grendon, who played the Boy Roger, was only aged eight and could hardly swim. I could have become entangled in the camping gear. My father tested the old BOAC life jackets we wore for rehearsals and to travel out to film locations. They failed to inflate. He nearly took me off the film.

Swallow and Amazon on the Puffin cover

Another tricky scene to film was when John, Susan and Roger set off from the Landing Place on Wild Cat Island leaving Titty to guard the camp and light the lanterns as they hoped to capture the Amazon and sail home after dark. I had push them off, grabbing the telescope at the last minute. Since Swallow’s mast was liable to catch in tree branches, I needed to wade out and give her a hard, one-handed shove. I slipped on a rock and fell up to my waste in water. Knowing it would be difficult to set up the shot a second time, I struggled to my feet and waved them off, dripping wet. By this time John had the mainsheet out as far as the knot and stood to grab the boom to avoid a Chinese gybe as Swallow was hit by a fresh gust of wind as he cleared the headland at the northern end of the island and sped northwards toward Coniston Old Man.

Simon West and Suzanna Hamilton at the helm of Swallow with Stephen Grendon in the bows, while Sophie Neville looks on from Peel Island.

Having spent nearly seven weeks filming in the Lake District, the film was post-synced at Elstree studios. We arrived to sing out our lines to find Swallow there. She had been set in a tank so that the sounds of sailing could be captured. It is something you tend to take for granted as a viewer while it draws you into the experience. I last saw Swallow looking dejected outside the studio and was worried about what had become of her. Although she was offered to someone who had advised on the film, she was kept safely at Mike Turk’s prop hire company. Richard Pilbrow was hoping to make another film in the series.

Swallow at
Swallow at Mike Turk’s store in London

When Mike retired, many boats that had featured in movies came up for auction. I knew Swallow would be costly and in need of renovation. After fans of the film and members of The Arthur Ransome Society contacted me, we clubbed together to make a bid. In the end about eighty members of a hastily formed group called SailRansome spent approximately £5,700 on the purchase.

I contacted Nick Barton of Harbour Pictures, the film producer who was gaining the rights to make a new movie, hoping we could be able to re-coup costs by renting her back to him. Nick came up to Coniston Water to watch me re-launch Swallow in April 2011, sloshing brandy wine on her bow in true Ransome style. I helped him to raise finance for the new film, which was made in the summer of 2015 and released in 2016, starring Kelly Macdonald as Mrs Walker, Rafe Spall as Captain Flint and Andrew Scott as a Russian spy. In the end, he decided to use fourteen-foot RNSAs dinghies for Swallow and Amazon as they satisfied the film insurance company who demanded that two identical dinghies were used for Swallow.

This article was first published in Practical Boat Owner magazine

Joining SailRansome was pivotal for me as I was asked by the Nancy Blackett Trust and The Arthur Ransome Society to give a series of talks on how the old film, and the BBC serialization of ‘Coot Club’ and ‘The Big Six’ was made. I ended up speaking at a number of literary festivals, on BBC Radio and even ITV’s News at Ten, promoting the societies and urging people to help get young people out on the water. I ended up taking Swallow out on Ullswater, the Orwell and River Alde, remembering how difficult she is to turn, but enjoying her speed. She ended up being featured on BBC Antiques Roadshow when I brought movie memorabilia up to Windermere Jetty museum for two episodes first screened in 2021.

Sophie Neville with Swallow on Coniston Water
Sophie Neville after re-launching Swallow on Coniston Water in 2011

You can sail Swallow yourself, in the company of an experienced skipper, by contacting SailRansome.org who are looking for volunteers to help care for her. As you can see from this clip, she was in need of restoration when first acquired by Sailransome

You can read more about the adventures we had making the original film in ‘The Making of Swallows and Amazons (1974)‘ by Sophie Neville, published by the Lutterworth Press, available from libraries, online retailers and to order from all good bookshops including Waterstones.

An article by Sophie Neville first published in Practical Boat Owner. A subscription to this bestselling UK magazine makes a great Christmas present.

How the chance of acting in the movie Swallows and Amazons began in Stroud in the Cotswolds

When I first published ‘The Secrets of Filming Swallows and Amazons’, someone left a review online saying they thought it a good idea for a novel but that it was a bit farfetched.

This amused me. It was a non-fiction book, written because the extraordinary story was true. Of all the roles, in all the novels ever written, I was asked to play Titty in Swallows and Amazons, an EMI film made in 1973 for universal distribution.

The offer came out of the blue. Within a year, I, an ordinary schoolgirl, found my image on the front of daily newspapers and on film posters pasted on the walls of the London Underground. All this happened nearly fifty years ago and yet the publicity never ends.

Swallows and Amazons (1974) now distributed by StudioCanal

Arthur Ransome, a haunted foreign correspondent, who escaped from Russia with Trotsky’s secretary, wrote Swallows and Amazons in 1929 while suffering from stomach pains so bad they prevented him from travelling. He said that the book wrote itself, but it is clear that he was self-medicating, grieving his own childhood, when he’d been longing to make friends and prove himself to his father who died when he was only thirteen.

Tweed-clad and continuously pipe-smoking, Ransome was oblivious to Lakeland weather. I acted out his almost-real fantasy in nothing but a thin cotton dress and a pair of enormous navy blue elasticated knickers. My book on ‘The Making of Swallows and Amazons’ is not a novel, not a fantasy. It is a true story. The movie is streaming on Amazon Prime where you can watch the trailer.

Why was I cast in the film? Why me? I had loved all the Arthur Ransome books I’d read in the Swallows and Amazons series, imagined myself exploring Wild Cat Island and the Great Lake in the North. Did I ever ask the Lord if I could live out the stories for myself?

The reality began in Stroud, at the Subscription Rooms. I put up my hand when someone asked if there was a ten year-old girl who could play the piano. They didn’t say, “play well.”

A young director called Claude Whatham, who lived in the Cotswold village of Camp, was looking for children to appear in the 1971 BBC adaptation of ‘Cider With Rosie’, based on Laurie Lee’s haunting memoir. He needed to find a little girl who had been to a village school near Stroud. I had attended Oakridge Parochial Church School when it was heated by pot-bellied stoves and the vicar told us Bible Stories.

I was chosen to play Eileen Brown, who shared a desk with Laurie Lee and accompanied him as he played Oh Danny Boy on his violin at the Christmas concert.

Sophie Neville in the 1971 BBC adaptation of ‘Cider with Rosie’, directed by Claude Whatham

My music arrived three days before filming began. It consisted of endless cords – a complicated accompaniment with no tune. To tackle the piece, I’d needed to practice for seven hours a day with the help of my long-suffering piano teacher from Far Oakridge.

Claude Whatham ~ photo: Daphne Neville

The director must have remembered me as a determined little girl because two years later a letter arrived, addressed to my father, only he was working in South Africa. My mother very nearly didn’t open it, however the words Theatre Projects were embossed on the envelope and she was intrigued.

But she did. We drove up from Gloucestershire to collect Dad from Heathrow and went straight to Long Acre near Leicester Square for an interview with Claude.

I was then invited to take part in a sailing audition at Burnham-on-Crouch in Essex – miles from the Cotswolds. The producer, Richard Pilbrow, was determined that any child chosen for a part knew how to sail. I had grown up beside one of the few lakes in Gloucestershire and knew how to row a Thames skiff. I’d added my own sail, made from a green dust sheet, but was no expert.

There were four other girls auditioning to play Titty. They were all smaller and prettier than me, with straight teeth. I didn’t think I was in with a chance.

The filming was to commence on 14th May 1973 and continue through the summer term. Our local authority – Gloucester County Council – needed my headmistress’ permission for me to miss five weeks of school.

Only, I didn’t go to school in Gloucestershire. I went to an Anglican convent in Berkshire. The nuns prayed about the proposition. They gave their permission – if I was chosen.

I didn’t think I was right to play Titty at all. I was three years too old and too tall. Ransome’s illustrations in the books portrayed girls with straight, dark hair. I didn’t know it but the character had been inspired by a real little girl called Titty Altounyan. I share her Scots, Irish and English heritage, but she was one quarter Armenian and had dark colouring.

However, unknown to us, Mrs Ransome had asked that ‘an English Rose’ should play Titty. Claude Whatham cast Sten Grendon, who had played Little Laurie Lee, as my younger brother Roger. Mrs Ransome – NB:the lady who once been Trotsky’s private secretary – was not happy that he had black hair. She nearly cancelled the film, but conceded when she saw him with a short-back-and-sides.

Sten Grendon as Roger and Sophie Neville as Titty rowing Swallow (c)StudioCanal

Sten claims we had the best parts. He grew up in the Whiteway Community and later went to school in Eastcombe. He now lives in France but still has family living in the Cotswolds. Back in 1973 his mother Jane, and my mother, Daphne, travelled up to the Lake District to look after us all.

Daphne Neville with Sten Grendon, Suzanna Hamilton, Sophie Neville, Jane Grendon and Simon West

In at the deep end. Whoomph! We literally had to swim for it. The water was icy, but we had plenty of support. I was able to embody my part because Suzanna Hamilton, who played my sister, was so brilliant. She anchored us, as did Simon West, who played John. He was only aged eleven but very bright and a confident sailor.

Stephen Grendon as Roger Walker with Suzanna Hamilton on location in 1973

Making the film was character-building stuff. While it was an inspiration and privilege to work under arc lamps with Virginia McKenna, it was often chilly and involved a lot of hanging around.

Stephen Grendon, Simon West, Virginia McKenna, Suzanna Hamilton and Sophie Neville, trying not to look as tall as she was in 1973 ~ photo: Daphne Neville

Virginia had four children of her own and brought us together as a team. While making things fun, she got us to focus and concentrate as we recorded the first scenes at Bank Ground Farm.

Virginia McKenna at Bank Ground Farm
Virginia McKenna at Bank Ground Farm in 1973 ~ photo: Daphne Neville

Arthur Ransome had been inspired as a boy by two of his aunts who left for Peking to serve as missionaries. They must have had great adventures. One even received a Boxer arrow in her bonnet. The story of Swallows and Amazons is about a family of four children on holiday who embark on something of a missionary journey themselves when they are allowed to sail off in a dinghy called Swallow to explore an island on a lake. They are confronted by two local girls, the Amazons, who are behaving badly, as their Uncle Jim has retired to his houseboat so that he can concentrate on writing his memoirs.

There is a strong undercurrent of fatherless-ness. Ransome had lost his own father before he could prove himself. The Swallows, whose father is in the Navy, come alongside the Amazons, who have lost their father and are being ignored by their uncle. They unite, make friends and have a lot of fun, whilst relishing in their independence granted because they are not duffers.

The crisis, in the story, is about the draft of a book being stolen, which I can only think must have been Ransome’s greatest fear. No one believes Titty, the youngest girl, who is sure she heard the burglars, so – in the film – she gets Roger to help her row Swallow to Cormorant Island where she finds it in what looks like a treasure chest.

Producer Richard Pilbrow with Neville C Thompson on Derwentwater in the Lake District in 1973
Producer Richard Pilbrow and Production Associate Neville C Thompson on Derwentwater in the Lake District in 1973

Richard Pilbrow and Claude Whatham had a tough time making the movie. Filming in the Lake District with its unpredictable weather and pressure from tourists was not easy. We faced endless problems and over-ran by two weeks.

But Mum was praying, Granny was praying, the nuns must have been praying for me – we needed the covering: I was the only girl who never fell ill. Swallow’s mast broke. I fell in. Water sloshed into a support boat. The rain poured down. We nearly crashed into the Tern. Our life jackets proved useless. There was a gas leak in our bus. We could have had an explosion. Most of the crew smoked continuously.

Sophie Neville with Daphne Neville in the Lake District
Sophie Neville with Daphne Neville in the Lake District

The behavior of some members of the film crew was pretty toxic. Many drove too fast. A cow fell on to the producer’s car. I fell out of a tree whilst playing. Suzanna cut her finger. Ronald Fraser was almost permanently pickled. Someone got hit in the eye by a baseball. The film set was vandalized and I lost a tooth halfway through filming a scene with Virginia McKenna.

Virginia McKenna and Sophie Neville on Peel Island
Virginia McKenna with Sophie Neville keeping her mouth shut ~ photo: Daphne Neville

We pushed on. Ran the race with perseverance. Somehow the challenges gave the finished film an edge, an enduring quality that made it into a classic.

Sophie Neville as Titty

The crew began asking if I would go on to act. The big question: was this a calling on my life? I didn’t just play Titty. I’d been part of the production team, suggesting that Ransome-like title graphics were used, that Seymour’s voice was used for Nancy. I didn’t want to act. I wanted to become a film director.

I’d enjoyed the post production work at Elstree Studios but disliked the fuss around the cinema release. Seeing yourself on camera always feels uncomfortable. The premiere of Swallows and Amazons was daunting.

Premier ticket for the Gala of ‘Swallows and Amazons’

It was first screened at the ABC in Shaftesbury Avenue alongside The Exorcist. But look! I literally had two guardians. My mother invited the nuns from school.

The ABC in Shaftesbury Avenue in 1974. It is now the Odeon Cinema.

Sister Allyne came. She didn’t flatter me but she was there.

Sister Allyne, Daphne Neville, Tamzin Neville and Sophie Neville

Like it or not, I ended up promoting the film on television. After I featured in ‘Animal Magic’, an image of me, rowing up the lake at Bakers Mill in the Cotswolds with a green parrot on my shoulder was used to replace the test card.

I grew too tall to continue playing children on screen and there was not much money for film finance in the 1970s when inflation was roaring. Sister Allyne prepared me for a film test for a musical Disney adaptation of ‘The Old Curiosity Shop’ but I wasn’t chosen. The movie flopped. I returned to my lessons.

At the age of fifteen I had a leading part in an adventure film with Vic Armstrong and Sophie Ward, called ‘The Copter Kids’, and I had a few little television parts in serials like ‘The Two Ronnies’ and ‘Crossroads’ while I was a student, but the drive wasn’t there. It was just as well. I didn’t have the bone structure.

Suzanna Hamilton playing Susan with Sophie Neville as Titty busy writing the ship’s log

Suzanna had a strong desire to act professionally and fought for parts. She went on to appear in Tess directed by Polanski, 1984 opposite John Hurt, Out of Africa with Meryl Streep, Whetherby with Vanessa Redgrave, Brimstone and Treacle with Sting, and a number of increasingly dark movies. She survived to appear in Casualty, New Tricks, Eastenders and is still working.

What she hated was the publicity. It’s a difficult part to any job. As she said at the age of twelve, having your photo on the front page of the Evening Standard ‘makes you felt a right twit’. She was furious with me for writing about her under sung talent in the Telegraph even though she looked beautiful in the arms of John Hurt.

I developed a burning desire to direct and went into television production. I made my first documentary for Channel 4 whilst driving from London to Johannesburg. I must have begun directing at the BBC at the age of 27 and produced my first series aged 29, but overdid it and was hammered by ill health. It was a good training. I learnt endurance, how to edit and I grew used to working to deadlines. I understood about moving the audience, cliff-hangers and bringing out books to accompany your work.

I didn’t learn to embrace the marketing aspect until I worked in the safari industry when I was assured it comprised 50% of the job. This attitude helped when I became and wildlife artist and later an author. After writing two books my readers – and my formatter – implored me to write about the making of Swallows and Amazons, especially once they learned that I had kept a diary whilst making it – as did Suzanna.

I first brought this out as a multimedia ebook, which is now in its second edition. It includes links to the cine footage my parents took on location. There are two versions of the paperback entitled ‘The Making of Swallows and Amazons’, seen here on the flag we captured.

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

It has been a delight to figurehead a story about sailing, a pillar of childhood that has influenced so many. Parents want me to engender a love for the outdoor life, sailing and exploring the lakes and countryside.

I hope I have helped to attract the right kind of people to the Lake District, that we have been able to inspire young people to read Arthur Ransome’s books, to get out into the countryside and sail, fish, go camping, build friendships, whatever the weather.

In the footsteps of Ransome’s great aunts, I went on a Bible Society mission to China. The people we met thanked us for coming, saying they hadn’t received European visitors for forty years. ‘But we’ve seen Europeans in town.’ ‘Them? They have just come to make money, not visit us.’

Does the old film shine a light, offer solace? People write in to tell me that the film of Swallows and Amazons carried them through a difficult patch. Some watch it once a week. It exists to remind people that they need not despair.

Does the symbolism still hold? It was my self-appointed job in the screenplay to wait, alone, and light the lantern, to be a light in the darkness that could be seen for miles.

Swallows and Amazons was not made to make money. It wasn’t the producer’s motivation. Richard Pilbrow just loved the books and wanted to bring them to life. We children didn’t do it for the money. There wasn’t very much. I earned £7.50 a day and was given a book token for appearing in the Lord Mayor’s Show. Even today, StudioCanal were reluctant to pay my expenses for re-launching the 40th Anniversary DVD when we were interviewed for the Extras package.

It doesn’t matter. I have been so warmly greeted so warmly by fans of the film. I was invited to become President of the Arthur Ransome Society, and have been offered numerous opportunities to speak about my books. I’ve passed on most of my speaking fees to charity – sending disadvantaged children in South Africa on an environmental course that has literally changed their lives.

Sophie Neville speaking at The Arthur Ransome Society

The treasure Titty found wasn’t pieces of eight. It was heavy to carry, but she was rewarded for her tenacity. She was given her heart’s desire, and parrots live a long time. They can easily outlive their owners.

The author Julia Jones points out that, ‘the treasure that was finally unearthed on Cormorant Island was a book. It might or might not have been a good book but the message of the story is quite clear: if you’re convinced that there’s something hidden under the rocks, all you can do is keep digging.’ 

An extra ordinary thing happened. When Richard Pilbrow was awarded an honorary degree from he invited Suzanna and I to lunch in London. As we left the restaurant in Covent Garden a group of buskers outside where singing the final sea shanty from the film, What Shall We Do With the Drunken Sailor? What were the chances of that? We hurried on to find transport and found ourselves outside the cinema where the premier had been held.

Something else happened to me as a result of Swallows and Amazons. Not what you might expect. We all wanted to learn to shoot with a bow and arrow. The next film role I was offered was as an archery champion. I kept up the sport, and ended up meeting my husband at a long bow meeting in the village where I was born. He was the chairman of the archery society. I won the Best Lady’s Gold. These are my colours:

Sophie Neville's bow and arrows

Proverbs 23-23 talks of wisdom, instruction and insight. My name, Sophia, means wisdom. My hope is that others gain wisdom and insight from what I have written.

You can read more in ‘The Making of Swallows and Amazons’, which is coming out as an audiobook. It will available from all the retailers and is currently on Scribd here.

Sophie Neville has been speaking at the Stroud Christian Book Festival.

A write up of Sophie’s talk for BookBlest – the first Stroud Christian Book Festival – on The Making of Swallows and Amazons can be found on this website here

If you missed Sophie’s talk on ‘The Making of Swallows and Amazons’, you can read about her adventures in one of these editions, available online.

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

There is a brief resume of the talk on this website, here Prepare to be taken back to the 1970s:

Sophie Neville speaking at the Southampton International Boat Show #SIBS22

Inspirational speaker, Sophie Neville
Southampton International Boat Show 2022

Swallow, the iconic dinghy who starred in the original film Swallows and Amazons is currently on display at the Southampton International Boat Show, greeting families as they arrive.

Sophie Neville who once played Titty Walker with her good little ship

I have been giving talks on filming afloat and how we made the movie on location in the Lake District nearly fifty years ago.

Over 103,000 people are expected to visit the show this year. Although busy, it does not feel crowded. There is a lot to see and do.

Speaker Sophie Neville
Sophie Neville speaking on the Foredeck Stage at #SIBS22

Thanks to the help of excellent technicians, my presentations proved popular, ‘inspiring talks on the Foredeck Stage’.

On the cover or Britain’s bestselling boating magazine

I later sign copies of ‘The Making of Swallows and Amazons‘ at Future Publishing’s corner stand. It has been a great opportunity to meet film fans, readers and feature writers.

Nick Jeffery the yacht publicist with Sophie Neville at the Southampton Boat Show

You can find a four-page feature on how we clubbed together to buy Swallow in this month’s Practical Boat Owner magazine.

A 4-page feature article in the bestselling magazine Practical Boat Owner

You can apply to SailRansome to take her out yourself. She is sea-worthy but we are looking for sponsorship from a boatbuilding company to help re-varnish her and repair a small hole in her bow.

Sophie Neville with Swallow from Swallows and Amazons (1974)

If you were are unable to get to the Southampton International Boat Show this year, you can watch an in-depth interview released this week by Your Take:

Your Take interview Sophie Neville on Zoom

The Queen and members of the Royal Family who love ‘Swallows and Amazons’

HM Queen Elizabeth II was given Swallows and Amazons as a girl and, according to Arthur Ransome, ‘said very nice things’ about his books. He wrote to his mother saying that Queen Mary had purchased a copy of Swallows and Amazons in 1930. Elizabeth, The Queen Mother also ordered a set. Do they have first editions in the Royal Collection?

Titty’s chart

The Queen told the author Peter James that Swallows and Amazons was the first book she could remember reading. He has written about his time at Buckingham Palace meeting other authors here.

Archive photographs show The Queen at Girl Guides’ camp enjoying rowing and a Swallows and Amazons lifestyle, as you can see here. In this film clip, she looks a bit like Captain Nancy playing with her sister Peggy, a name that is short for Margaret:

Our late Queen kept a large flock of 200 racing pigeons at Sandringham all her life. This uncut Movietone footage shows the two princesses being shown a carrier pigeon. Could they have been influenced by Arthur Ransome’s book Pigeon Post?

In 1940, Claude Whatham, who went on to direct the original film of Swallows and Amazons, was commissioned by Princess Elizabeth and Princess Margaret Rose to paint a series of pantomime pictures on the walls of Windsor Castle. One can presume they had a chat. I have just been asked to provide photos for a new documentary for Channel 5. You can read about this wartime story on a previous post of mine here. She loved appearing in the three pantomimes that they put on, when she played the principal boy.

Claude Whatham’s paintings at Windsor Castle

The Queen was able to visit Bowness-on-Windermere with the Duke of Edinburgh in 1956

She visited Coniston and Tarn Hows in 1980 and returned to Bowness-on- Windermere with the Princess Royal in 2013 when they took the Tern up to Ambleside.

I feel that the Queen would have enjoyed Ransome’s sense of humour. A few of the amusing things she said are captured here:

HM King Charles loved Swallows and Amazons as a boy. I’ve read that it was his favourite book. I met him when speaking about otter conservation but did not mention the fact I had played Titty in the original film ‘Swallows and Amazons‘.

King Charles III speaking to Sophie Neville

HRH The Queen Consort has also expressed a love for Swallows and Amazons, recommending it on her Reading Room site as one of her top six books for children.

‘When asked what her favourite children’s books are, the Duchess revealed them to be Moorland Mousie by Golden Gorse… and Swallows and Amazons by Arthur Ransome,’ which the Duchess described as “just a really good adventure story, full of a lot of imagination.” Hello magazine and Royal Central.

She also recalled her own experiences receiving new books as a child. “I still remember the intense excitement I felt as a child when choosing books to buy with my pocket money — Anna Sewell’s Black Beauty, Baroness Orczy’s Scarlet Pimpernel, Arthur Ransome’s Swallows and Amazons — and the joy of knowing that these precious books, clutched tightly in my hands, were my very own,” she wrote.

The Duchess of Cambridge cooking on a campfire in Cumbria

The Duchess of Cambridge is vaguely related to Arthur Ransome. His brother-in-law Hugo Lupton, was cousin to Kate’s great-grandmother Olive. You can read a little more here.

The Duke of Edinburgh endorsed what he called ‘the Swallows and Amazons spirit’. In 2014, Alan Hakim of The Arthur Ransome Society spotted a copy of The Big Six in his study aboard HMY Britannia. You can find a list of authors and well known people who love the books here.

Many thanks to members of the Arthur Ransome Group for help with this article.

Please add any more information in the comments below.

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974)’ by Sophie Neville

Authors who mention the 1974 film of ‘Swallows and Amazons’

People often write to say how much they have enjoyed the original film ‘Swallows and Amazons’ (U) produced by Richard Pilbrow in 1974, which is currently streaming on Amazon Prime. Being suitable for all ages, it is often screened at outdoor festivals and is on Netflix in Europe.

‘Is it a good movie?’ people enquire of Google.

Helen Fielding mentions the DVD of Swallows & Amazons 1974 in the first edition of ‘Bridget Jones: Mad about the Boy’ claiming it to be more edifying for her children to watch than ‘Beverley Hills Chihuahua 2‘.

Dame Margaret Drabble told Claude Whatham, the director, how much she loved Titty in his film of Swallows and Amzons, which was a huge compliment.

Sophie Neville as Titty in 1973

Elspeth Huxley CBE – author of thirty books including The Flame Trees of Thika – loved the 1974 film of Swallows and Amazons, reviewing it for The Tatler magazine under her married name, Elspeth Grant.

Simon West, Sophie Neville and Suzanna Hamilton appearing in The Tatler

There is special interest from a number of authors –

Wendy Clarke, who has set some of her psychological thrillers in the Lake District auditioned for the part if Titty in 1973. You can read her story on another post here.

According to Kathryn Hughs in The Mail on Sunday BOOKS section, Robert Twigger ‘grew up in the 1970s obsessed with Swallows and Amazons’. He’s written 36 Islands: In Search of the Hidden Wonders of The Lake District… And a Few Other Things Too. It was well reviewed by Country Life.

Mail on Sunday - A homage to Swallows, Amazons and a girl with a rather rude name!

The arts curator David Banning profiled the 1974 movie of Swallows and Amazons in his book on films made in Cumbria and the Lake District, which you can see here.

Trevor Boult, who writes books on ships and sailing, is a great fan. He kindly donated the royalties from his most recent book Boats Yet Sailing to The Arthur Ransome Trust. You can order a copy direct from the publisher here.

For a list of well known people who love the Swallows and Amazons books, please click here

Do you know of any other authors who have written about the film? Please leave any information in the comments section, below.

Wilfred Joesph’s title music for ‘Swallows and Amazons'(1974)

You can read the first section about how the film was made back in 1973, for free, on the Amazon preview of the ebook here:

Writers and illustrators inspired by Swallows and Amazons

Tom Stoppard, the playwright, said he turned books over as a child hoping they might be ‘Swallows and Amazons’. (The Guardian) In Hermione Lee’s recent biography of Tom Stoppard, she notes that as an eight-year-old boy, ‘The first real book he picked up, soon after getting to England, was Arthur Ransome’s Peter Duck, the third in the Swallows and Amazons series, a 1930s epic of Atlantic Ocean travel, shipwreck, hostile pursuit and secret treasure. He spotted on the jacket that Ransome had written some other books too. ‘My method of searching for these books had a sort of pathos about it: I simply went around picking up any book I saw lying about to see if it was called Swallows and Amazons. But it never was.’ Luckily he found a full set of Arthur Ransome books at school. ‘Stoppard, that enchanting master of the English language, was a Czech refugee, and Ransome was therefore one of his early English-language influencers.’

Melanie Philips lists Swallows and Amazons as one of the ‘great childhood books’ that ‘stay with us for ever’. ‘Books that make a profound impression on us in childhood can form part of our mental scaffolding throughout our lives.’ The Times

When asked , “What was it that first gave you the reading bug,” author Sarah Moss said, “Arthur Ransome: Swallows and Amazons. I was an outdoor child — though not always by choice — and I knew and loved the landscapes where the series is set. I re-read them with my children and they are classics with strong, likeable, flawed characters, a family dynamic that’s in some ways more interesting to me as an adult (John has some serious issues with the patriarchy) and a satisfying interest in fruit cake and pork pies. (Daily Mail)

Tony Ross – illustrator of Horrid Henry and The Little Princess, said, “I absolutely loved this book as a boy. I read it when I was ill with the mumps. The simple line drawings were just wonderful; they gave the feeling of wide open spaces and freedom. When you’re bound up in bed, when your jaw is aching and your face is the size of a football, it’s nice to be wafted out into the water. Swallows and Amazons gave me a lifelong love of sailing. I’m a bad sailor, but I love messing about on boats.” Daily Telegraph

Puffin edition of Swallows and Amazons
1974 Puffin edition of ‘Swallows and Amazons’

Sir Antony Jay, the author and co-writer of Yes, Minister and Yes,Prime Minister, who was editor of the BBC Tonight programme and Head of Television Talk Features, was a fan. Janet Means of the Arthur Ransome Group said that when she was a child, and he was a very young BBC producer, that he used to lend her Swallows and Amazons books.

I had been asking if Agatha Christie referred to any of Arthur Ransome’s books. She didn’t, but I’ve been told that in the recent adaptation of Why Didn’t They Ask Evans? Frankie Derwent reads Swallows and Amazons aloud to a young boy who has had a traumatic experience that day, as he falls asleep. The passage she reads includes: “But the big hills up at the lake helped to make him feel that the houseboat man did not matter. The hills had been there before Captain Flint. They would be there for ever. That, somehow was comforting.” The book was adapted for television by Hugh Laurie.

Julian Fellowes acted in the BBC adaptation of Coot Club but I’m not sure if he has referred to Swallows and Amazons in any of his novels of screenplays.

Tony Collins, who brought out 1,400 books as a publisher, mentions that he grew up reading Swallows and Amazons in the first page of his new memoir How to Make Mistakes in Publishing.

Sometimes it’s the Swallows and Amazons lifestyle that people speak of. Santa Montefiore ~ ‘I had an idyllic Swallows and Amazons childhood growing up in a beautiful Jacobean house on a farm in Hampshire.’ Guardian 

Frances Wheen who wrote the a-claimed biography of Karl Marx joined us at Pin Mill for a marathon reading of We Didn’t Mean To Go To Sea hosted by the Nancy Blackett Trust

Janet Mearns, of the Arthur Ransome Group on Facebook, spotted several references to Swallows and Amazons and Titty, ‘with the assumption that the Radio 4 audience would understand the reference’, in series 6 of the Radio 4 sitcom No Commitments written by Simon Brett.

Brian Doyle, the publicist of many iconic movies including the original film of Swallows and Amazons, wrote about Arthur Ransome in his book, The Who’s Who of Children’s Literature, claiming that he launched a ‘new age’ in children’s literature by writing about his own childhood by the lakes he loved so much. He is featured in these books about making the film, available from all the usual sites online

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

For a list of other well known writers who have been inspired by Arthur Ransome, please click here.

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