ABSTRACT
Pigeon Post (1936) must have seemed to many readers a welcome return to the earlier, more robust, mode of the series – a return to the Lake District, the Swallows and Amazons, and the unpredictability ensured by the presence of Nancy. But it is significantly more than an imaginative home-coming. Beneath the surface confidence of the writing, Pigeon Post is in many ways a strange and daring story. This novel, and its successor We Didn’t Mean to Go to Sea, are concerned primarily with real danger – and this concern is somehow related to a new authorial interest in Susan.
