logo
Andrew Cassell, daring sailor who won Paralympic gold, dies at 82

Andrew Cassell, daring sailor who won Paralympic gold, dies at 82

Miami Herald17-05-2025
In the early 1950s, Andy Cassell, a 9-year-old boy on the Isle of Wight in England, read about the Kon-Tiki expedition, Norwegian explorer Thor Heyerdahl's voyage across the Pacific Ocean on a primitive raft.
Andy began to dream of sailing, although it seemed an unlikely prospect: He had been born with malformed hips and no legs.
Still, he built a raft with pine logs he found on the beach, and his grandmother helped by fashioning a sail from a tablecloth and a mast from a clothesline pole. His mother allowed him on the raft, so long as he remained tied to the shore with a 60-foot rope. After a few weeks, he cut the rope.
Soon enough, he was racing a secondhand Albacore dinghy that his grandmother bought him. And at 18, Cassel won a national dinghy-sailing championship. He went on to become a skilled competitor in national and international races in various classes, including keelboats and yachts.
In August 1979, at the age of 37, he helmed a crew of six in the Fastnet Race, a roughly 700-mile yachting competition from southern England to Ireland and back, named for the Fastnet Rock, a rugged Irish islet in the middle of the course.
They set out in sunshine, but it wouldn't last. A severe windstorm killed 15 sailors in what is now considered the deadliest race in modern yachting history.
During those perilous hours, Cassell discovered that his youthful sailing experience -- the hardship of learning to sail without legs and the subtleties of piloting a rustic dinghy -- had prepared him to survive.
After steering his boat to safety, he went on to lead the first crew to win a Paralympic gold medal in sailing. He later established a nonprofit organization dedicated to helping disabled sailors compete in races open to everyone.
Cassell died March 18 at the age of 82, in a hospital on the Isle of Wight. The cause was sepsis following heart surgery, Matt Grier, director of the Andrew Cassell Foundation, said.
It was about two days into the Fastnet Race when a fog descended, Cassell recalled in a 2018 post on his foundation's website. The wind picked up, eventually reaching over 55 knots, and the waves soared to 60 feet high.
The boat's engine and radio malfunctioned, and a critical piece connecting the mast to the boom broke. Cassell's crew took down the mainsail to prevent the boat from capsizing.
One man suggested that they head into the wind. Cassell objected, saying their rudder would be ripped off. They tried going downwind but then shot forward so fast that Cassell warned the boat was about to go under a wave and 'disappear forever.'
Then he had an idea. He remembered a technique he had learned while sailing a dinghy: Frequently recalibrating the direction of a vessel at fine angles enabled smoother sailing. Trying that now, however, would require the finesse of handling his 30-foot sailboat as if it were just 6 feet long.
For hours throughout the night, without stopping to sleep, and rejecting a tow from a lifeboat -- 'they told us that we were mad, rather more strongly than that,' Cassell remembered -- he steered the boat as he would have a dinghy, while his crew stayed below deck. His upper-body strength, gained from decades of moving around on crutches with prosthetic legs, was a matter of some lore; he was able to haul himself, hand grip by hand grip, up a mast to retrieve a rope.
More than 24 hours after the storm began, Cassell skippered his boat into port at the coastal Irish village of Dunmore East. Local residents were waiting and broke into applause.
Andrew Cassell was born July 14, 1942, in East Sussex, England. His father, Clarence Cassell, was a farmer who moved the family to East Cowes on the Isle of Wight, where he had found work as an estate manager. His mother, Dulcie (Bull) Cassell, was a pianist.
At 14, Andy Cassell left school to work as an apprentice at Ratsey & Lapthorn, a sail-making company, where he remained employed for the rest of his career.
In the 1990s, he was convinced to join sailing races for people with disabilities. His crowning achievement came in the 1996 Atlanta Paralympic Games, where sailing was a trial event. Cassell won the gold and with it, growing acclaim. Local papers called him the 'legless helmsman' and the 'disabled yachting hero.'
Propelled by his Paralympic victory, Cassell created a foundation with the goal of training disabled sailors to compete with everyone else on a 'level playing field.'
Ian Wyllie, one of those sailors, had severely injured his spine during training with the British navy. Until he took up competitive sailing, he thought he had lost the chance at a life on the sea. But thanks to the Cassell Foundation, he said, he discovered that he could zip around a boat wearing his leg braces, by sliding, gripping rails and other handholds, and relying on his savvy and strength.
'I owe him, and the foundation he began, my second go at life,' he wrote in a memorial for Cassell.
Cassell's first marriage, to Chris Wimball, ended in divorce. He is survived by his second wife, Sue Burgess, whom he married in 2001; a daughter from his first marriage, Zoe Barnes; three stepdaughters, Debbie Heryet, Vicki Lachlan and Lucie Banks; and several grandchildren and step-grandchildren.
Another sailor mentored by Cassell, Duncan Byatt, recalled that before they sailed together for the first time, Cassell mentioned that he had just broken his leg. Concerned, Byatt asked how long it would take to heal.
'Oh, don't worry,' Cassell said. 'I'll get a new one in the post on Monday.'
This article originally appeared in The New York Times.
Copyright 2025
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

18 Improvements From The 2000s That Made Life Better
18 Improvements From The 2000s That Made Life Better

Buzz Feed

timea day ago

  • Buzz Feed

18 Improvements From The 2000s That Made Life Better

A lot can change in a decade or two, and for many things, it's for the better. Recently, Redditor u/angelbeetle asked older adults of the Reddit community to share what they honestly think have changed for the better within the last two decades, and it's super insightful: "Minor surgeries. Many are laparoscopic with smaller incisions and faster recovery times. My kid and I compared our appendectomy scars. Mine isn't really visible anymore, but it was a cut the length of my appendix, complete with stitches. His scar is essentially a dot." —TheRealEkimsnomlas "Food transport and availability. Thanks to globalization, I can afford to eat fresh Norwegian salmon and Peruvian blueberries in Bangkok for less than they'd cost in the US." "The percentage of people who smoke cigarettes has decreased." —Imaginary_Shelter_37 "Online banking is straightforward and convenient (I was a late adopter). Also, attitudes toward sex and gender are generally much better." "GPS. I started driving when you had to use a map or ask someone else for directions. MapQuest was a revelation but still required a bit of attention. Now, I can get anywhere in America with turn-by-turn directions from my phone." —professorfunkenpunk "Air and water quality almost everywhere has improved." "In my My family first got a VCR when I was 7. I have some vague memories from before then, like only having three channels on the TV. But then renting happened after VCR, and the concept of a video store was 'renting a movie is the same cost as a single movie ticket, but now you can bring the family and pause it.' It was pricey, but still held tremendous value. I was 21 when TiVo came out, when you could suddenly record basically any show. When Netflix started streaming, I was 30." "Another subsequent side effect is the rise of prestige TV. Twenty-five years ago, we had The Sopranos, and that was basically it. Now, there's a goddamn arms race on every streaming platform for intense, compelling television. Like, I remember loving Knight Rider as a kid, but trying to rewatch an episode was rough. TV just wasn't designed for people to watch EVERY episode of something, but streaming makes it easy."—supergooduser "Availability of random products with the internet. You can buy nearly anything online." "Car durability. Everyone says, 'They don't build 'em like they used to,' but cars today routinely last 10–15 years. Back in the day, cars were shot after a couple of years and 50,000 miles." —Eastern-Finish-1251 "Internet speed." "Acceptance of formerly 'nerdy' hobbies like video games, comic books, collecting, being a big fan of a particular piece of media, etc." —AshleyWilliams78 "Battery-powered tools." "Dentistry. Specifically, pain management." —NansDrivel "Engine horsepower and gas mileage have improved." "Cancer survival rates." —sbsb27"For multiple reasons, too: better detection, greater awareness, better medications to combat the cancer and the side effects of the chemo, new classes of drugs with a greater selection within each class, and improved radiation therapy delivery."—TheSlideBoy666 "General public safety. Despite what the politicians like to scream about, serious crime has been on a decline for many years. I remember what it was like in '60s and '70s. We give up some freedoms for greater safety. It's a trade: camera monitoring, facial identification, DNA, etc. But these trades conceptually give up freedoms, but have a demonstrable effects on safety." "Mental health. It's still vastly underfunded, and we still don't understand much, but we have made incredible strides in the last 25 years. There are better medications, and there's genetic testing that can quickly make it easier for a psychiatrist to choose the right meds for a patient rather than just trying one, after one, after one. There's a better understanding of the role of abuse and trauma in the personality disorder cluster, and more willingness to consider new and old treatments that actually work for drug-resistant issues." —Late_Resource_1653 Lastly: "I taught high school until a couple of years ago. Teenagers are far more accepting of differences than they were when I was a teen. There is still unkindness because there are assholes in any population, but still. I was both surprised and gratified at the level of acceptance of cultures, lifestyles, and differences. I sincerely hope this trend continues." As someone who remembers having to print out directions from MapQuest, I'm SO glad for GPS and CarPlay. What do you think has genuinely changed for the better within the last two decades? Let us know in the comments, or you can anonymously submit your thoughts using the form below!

The Writer Who Embraces Forgetting
The Writer Who Embraces Forgetting

Atlantic

time15-07-2025

  • Atlantic

The Writer Who Embraces Forgetting

When it comes to memoirs, an author's task is clear: Remember how it happened; then, tell the truth. Writers who draw on personal stories are often dogged by nonfiction's prevailing imperative of factual precision. They should want, above all, to get it right. But what if one has forgotten it, even if that thing feels important enough to write about? Whatever the reason for a memory's erasure—the blitheness of youth, the defense mechanism of blocking out pain, the natural erosion of particulars over time—it often throbs like a phantom limb, no less potent for the absence of details. Faces and words may fade, but their emotional residue frequently lingers. A diligent storyteller might curse these gaps as hopeless obstructions, but the Norwegian author Linn Ullmann has reconceived them as central to her work. 'How do experiences live on, not as memories, but as absences?' asks the narrator of Girl, 1983, Ullmann's latest novel, now translated into English by Martin Aitken. The book seeks to answer this query by recasting personal writing as a conversation between recollection and amnesia. For the protagonist of Girl, 1983, this relationship is intensified by competing desires: to recover the lost shards of a painful adolescent memory, or to let them fade into oblivion. Ullmann's protagonist seeks to record a past experience that she struggles to fully remember, but the autobiographical elements she does provide tend to align with Ullmann's own history. These varied tensions between fiction and fact ripple throughout the book in vivid recollections drawn from Ullmann's life, broad smears of vanished history, and interludes depicting the uneasy work of remembering. A reader might get the sense that Ullmann has removed the top of her head in order to reveal the choreography of her mind. And yet, Ullmann calls this introspective book a novel, imposing some distance between herself and the story she's told. She challenges the idea that memoir is more intimate than fiction, and manipulates genre to express a vulnerable relationship to her own cerebral archive: what she can claim to know, what she can't bear to face, what she has lost. It is fitting, for these reasons, that Girl, 1983 —the title of which reads like an aptly cryptic caption—begins with a missing object. Ullmann opens the book by describing a lost photograph, one taken of the unnamed narrator when she was 16, 'which no longer exists and which no one apart from me remembers.' Forty years later, when the narrator has a 16-year-old daughter of her own, and finds herself unmoored by depression during a COVID-19 lockdown, she decides to write about the picture and the circumstances surrounding it. Her choice is fraught because, by the narrator's own admission, 'the story about the photograph makes me sick, it's a shitty story.' She has 'abandoned it a thousand and one different times for a thousand and one different reasons.' The narrator thinks back to October 1982, when, while riding the elevator in her mother's New York City apartment, she catches the eye of a 44-year-old photographer, 'K,' who invites her to come to Paris for a modeling gig. She readily accepts, despite her mother's protests. Soon after she arrives, she begins a sexual relationship with K. She is thrilled to model for this older man, and ultimately poses for him once, before telling him she wants to go home. He derides her as a 'crybaby' and a 'neurotic little bitch' whom he regrets meeting. Here the paragraph breaks, and once more, the protagonist claims forgetfulness. 'I don't remember one day from another,' she narrates. 'I don't remember how many days I was there, in Paris, in January 1983, perhaps five or seven.' Her complicated desire for K—erotic in nature, and yet based in a childlike longing for approval—produces an irrecuperable psychic fissure. She is repelled by his aging, 'decrepit' body and embarrassed by her own 'greedy body saying yes' to his sexual maneuvers. Nonetheless, their affair continues in New York City, though it is short-lived and ends abruptly; the photograph he takes of her runs in a 1983 issue of a now-defunct French fashion magazine. For safekeeping, the narrator slips a copy of the picture inside a white notebook, but when she searches for it decades later, both the photo and the notebook are gone. To tell the photograph's story, she must summon the details from memory as best she can. Those familiar with Ullmann's biography might immediately suspect that she is the girl in the photo; after all, her own upbringing echoes the one depicted here. Ullmann is the daughter of the late Swedish director Ingmar Bergman and the Norwegian actor Liv Ullmann, and specifics of her childhood are not difficult to locate. Moreover, it is her own teenaged face that peers from behind the typescript on the book's cover, looming above the words 'A Novel.' You might find this interplay between word and image destabilizing. Perhaps Ullmann sought in fiction the creative and emotional freedom to portray both her atypical childhood and her parents in more impressionistic terms, or perhaps she hoped that classifying the book as a novel would offer some measure of privacy to her family and herself. Then again, Ullmann is in well-traveled territory. Autobiographical novels and works that otherwise test the boundaries between novel and memoir—Karl Ove Knausgaard's My Struggle, Ocean Vuong's On Earth We're Briefly Gorgeous, Sheila Heti's How Should a Person Be? —are familiar to contemporary readers. Literature has a distinct ability to illuminate truth's multiplicities; writers like Ullmann remind readers that fact and fiction are fragile categories, and that collapsing them can yield enthralling results. Girl, 1983 is still more deft in its experiments, subverting conventional ideas about fiction's use of the truth. A reader might expect autobiographical fiction to flesh out the skeleton of a memory with invented details. Ullmann instead draws on the category of the novel to embrace the gaps, to insist on their primacy in any remembered history. Ullmann has not just written an autobiographical novel; she has suggested that every autobiography might be a novel in the first place. If Ullmann had labeled Girl, 1983 a memoir, few readers would have raised an eyebrow, because she barely disguises her story's basis in autobiography. The protagonist is undoubtedly her proxy: Like Ullmann, she is a writer in her 50s, half Norwegian and half Swedish, with an actress mother who was 'one of the most beautiful women in the world' and an illustrious father who was largely absent from her upbringing. And like Ullmann, the protagonist has already written a novel that was 'based on real events.' Unquiet, translated into English by Thilo Reinhard in 2019, chronicles Ullmann's parental relationships—particularly with Bergman—with seeming fidelity. For Ullmann, designating her latest work a novel seems to communicate something both distinctly personal and universally true. By foregrounding incomplete memories—she writes about trying to ascertain 'the order of events, the ones I remembered and the ones I'd forgotten and which I had to imagine'—Ullmann lays bare the reality that minds are not so much storage devices as sieves. As her protagonist puts it, 'Forgetfulness is greater than memory.' To call Girl, 1983 a novel, rather than a memoir, is no mere exercise in literary classification, nor is it only a challenge to the limits of genre. It is surrender, inscribed: an acknowledgement that ownership of one's memories is provisional, an unstable cache susceptible to time and circumstance. Ullmann's protagonist wrestles with this difficulty. Over the course of the novel, she struggles to recount the Parisian photo shoot and her affair with K. The history is 'made up mostly of forgetting, just as the body is composed mostly of water,' she explains. The story, separated into three sections—Blue, Red, and White—travels a spiraled, associative, and fragmented path, making persistent returns to the events connected to the photograph. Most notably, it frequently revisits the protagonist's past and present relationship with her often-distracted mother. Indeed, the narrator's desire for proximity to her mother forms the connective tissue stitching together the chronology of her childhood. 'I've never been much good at distinguishing between what happened and what may have happened,' she reflects. 'The contours are blurred, and Mamma's face is a big white cloud over it all.' Perhaps recollection always requires a degree of fiction-making, not simply because people are inherently forgetful but because memories are shaped as much by impression and sensibility—a mother's face, the hazy sketch of a dark Parisian street—as they are by actual events. And yet, as Ullmann makes clear, remembering and forgetting are not so much actions as forces that everyone must negotiate. One might try to foster conditions for remembrance—take photographs, keep a journal, stash relics—but forgetfulness sets its own obscure terms. This need not be distressing. In fact, there is something pleasurable in setting down the burdens of the past. 'I don't want to lose the ability to lose things,' the narrator protests, in response to a promotional email for an app that makes it easier to retrieve misplaced items. Too much past accumulates; it gnaws like a parasite, thriving on the vitality of one's most punishing memories. What a relief, to let some things fade away.

Portage Métis Local Supports 50th Anniversary Event of Grant's Old Mill
Portage Métis Local Supports 50th Anniversary Event of Grant's Old Mill

Hamilton Spectator

time15-07-2025

  • Hamilton Spectator

Portage Métis Local Supports 50th Anniversary Event of Grant's Old Mill

A community celebration honouring Métis leader Cuthbert Grant brought history to life at Grant's Old Mill in Winnipeg last Saturday, drawing families, music lovers and history enthusiasts to the site of Western Canada's first water-powered grist mill. The July 3 event marked the 50th anniversary of the replica mill, built in 1975 to commemorate Grant's original 1800s structure. Although the historic replica is currently closed due to structural concerns, the milestone event highlighted both the significance of Grant's legacy and the urgent need for restoration efforts. 'The music, the food — it's fabulous,' said members of the Portage Métis Local in the Southwest Region, who attended the celebration. 'It's so great to see cultures coming together and to learn more about this place.' Born to a Scottish father and Métis mother, Cuthbert Grant was educated in England before returning to what was then Rupert's Land — a small territory in present-day Manitoba. He became a key figure in Métis history, aligning with the North West Company and supporting the Red River Métis community in their economic development. Grant's mill, constructed in the late 1800s in what is now west Winnipeg, was the first of its kind west of the Great Lakes. Though it only operated for three years due to droughts, flooding and harsh winters, it played an important role in helping Métis families grind their own flour and oats, contributing to their economic self-sufficiency and community-building alongside Scottish and Irish settlers. The mill was later commemorated during centennial celebrations in the 1970s, when a group of volunteers came together to build the replica. It officially opened on July 3, 1975, with Manitoba premier Ed Schreyer on hand for the occasion — and Schreyer returned this year to mark the 50th anniversary. In recent years, the mill has milled local wheat and even partnered with Patent 5 Distillery, which is preparing to release a whiskey made using grain processed at the site. But aging infrastructure has forced organizers to close the building to the public for the first time this year, ironically, in its five-decade history. 'The pillars are rotting, and some of the wood is failing,' said Tiffany Evans, a Red River Métis and volunteer involved with the mill. 'That's why we've started a new fundraiser to save this piece of history.' The campaign, titled Boards of Belief, allows donors to contribute at various levels — from $25 to over $2,500 — with larger donors receiving a board reclaimed from the structure. Donations can be made through . For many, the anniversary was not just a celebration of a structure, but a reminder of the power of history to unite. 'We all have roots in different places,' said Evans. 'But coming together in events like this — to share stories, music, food, and culture — helps us understand one another and keep traditions alive.' Cultural dancing, including jigging, Irish and Scottish footwork, as well as music by prominent Manitoba Metis artists along with cultural activities, historical displays and food made up a wonderful, sunny day to celebrate an integral part of the province's past. — Renée Lilley is a Local Journalism Initiative reporter who works out of the Portage Graphic. The Local Journalism Initiative is funded by the Government of Canada. Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store