The Cruel Sea

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Resigning his wartime commission during 1946, Monsarrat entered the diplomatic service. He was posted at first to Johannesburg, South Africa and then, in 1953, to Ottawa, Ontario, Canada. [5] He began writing full-time during 1959, settling first on Guernsey, in the Channel Islands, and later on the Maltese island of Gozo. [6] Ranks [ edit ] 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. 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.

Nicholas Monsarrat". Historic Naval Fiction. Archived from the original on 17 August 2016 . Retrieved 11 January 2015. 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.

Here were the ships, assembling for their long uncertain voyage: here was Compass Rose, appointed to guard them: here was Ferraby himself, a watchkeeping officer — or practically so — charged specifically with a share of that guardianship. His pale face flushed, his expression set in a new mold of determination, Ferraby surveyed the convoy with pride and a feeling of absolute proprietorship. Our ships, he thought: our cargoes, our men. . . . None would be surrendered, of this convoy or of any other, if it depended on any effort of his. The Story of Esther Costello (1957) (also known as The Golden Virgin), directed by David Miller, starring Joan Crawford, Rossano Brazzi, Heather Sears, Lee Patterson. Screenplay by Charles Kaufman. This novel brings those men to life. It feels so real, you can almost feel the cold winds of the North Atlantic, almost feel the exhaustion, almost feel the drudgery and misery of convoy escort duty. 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! a b Krueger, Christine L. (2003), Encyclopedia of British Writers, 19th and 20th Centuries, Facts on File, p.257, ISBN 0-8160-4670-0

The Cruel Sea by Nicholas Monsarrat is fiction, but it is based on the author’s own WW2 experiences. For four years, he was stationed in the Atlantic, serving on corvettes and on a frigate. This shows. It is clearly evident that the author writes about what he knows and has experienced firsthand. He said — ah — ‘Don’t come the acid with me,’” Morell screwed up his eyes. “‘Come the acid’ . . . I must confess I have not heard that before.” THE Captain carried them all. For him, there was no fixed watch, no time set aside when he was free to relax and, if he could, to sleep. He had to control everything, to drive the whole ship himself: he had to act on signals, to fix their position, to keep his section of the convoy together, to use his seamanship to ease Compass Rose’s ordeal as much as possible. He was a tower of strength, holding everything together by sheer unrelenting guts. The sight of the tall tough figure hunched in one corner of the bridge now seemed essential to them all: they needed the tremendous reassurance of his presence, and so he gave it unstintingly, even though the hours without sleep mounted to a fantastic total. From London". The Mail. Adelaide: National Library of Australia. 9 January 1954. p.50. Archived from the original on 29 March 2021 . Retrieved 10 July 2012.Saltash Castle was portrayed by Castle-class corvette HMS Portchester Castle, pennant F362, as in the film. Although she had been paid off in 1947, she was held in reserve until broken up in 1958, and so could be made available for use in the film.