The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford's work, life, and contacts, to broader concerns of his time. The present book is part of a large-scale reassessment of his roles in literary history. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade's End, which Anthony Burgess described as 'the finest novel about the First World War'; and Samuel Hynes has called 'the greatest war novel ever written by an Englishman'. But he was a prolific writer in many different modes, which include criticism of others' writing, and reminiscences of the many writers he had known. One of the most striking features of his career is his close involvement with so many of the major international literary groupings of his time. In the South-East of England at the fin-de-siècle, he collaborated for a decade with Joseph Conrad, and befriended Henry James, and H. G. Wells. In Edwardian London he founded the English Review, publishing these writers alongside his new discoveries, Ezra Pound, D. H. Lawrence, and Wyndham Lewis. After the war he moved to France, founding the transatlantic review in Paris, taking on Hemingway as a sub-editor, discovering another generation of Modernists such as Jean Rhys and Basil Bunting, and publishing them alongside Joyce and Gertrude Stein. He spent more time in America from the later 1920s, spending time with Southern Agrarians, and poets such as William Carlos Williams, Charles Olson, and Robert Lowell. He was always a tireless promoter of younger writers, reading manuscripts and recommending them to publishers. This book takes Ford's 'literary contacts' to include such creative friendships, editorial involvements, and influential biographical encounters; and they form the most substantial, central section on 'Contemporaries and Confrères', covering figures like Proust, Carlos Williams, Rebecca West, Herbert Read, and Hemingway. But it also explores contacts with literary texts. The first section on 'Predecessors' considers the impact of Ford's reading of Trollope, George Eliot, and Turgenev. The final section discusses 'Successors' writers such as Graham Greene, Burgess, and A. S. Byatt, whose literary contacts with Ford have been as his admiring readers and eloquent critics. Ford has been described as 'a writer's writer'. This volume reveals how true that has been, and in how many ways, as it sheds new light on his relationships with other writers, both familiar and surprising. It includes two pieces published here for the first time: one by Ford himself, on Turgenev; the other a memoir about Ford by his contemporary, Marie Belloc Lowndes (the sister of Hilaire Belloc).

The controversial British writer Ford Madox Ford (1873–1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme, issue, or work; and relates aspects of Ford’s writing, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’, Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’, and which was adapted by Tom Stoppard for the acclaimed 2012 BBC/HBO television series, starring Benedict Cumberbatch and Rebecca Hall. The twelve essays in this volume, Ford Madox Ford’s Cosmopolis, focus directly on the internationalism so important to Ford, and bring out three main ideas. First, his lifelong commitment to an international vision of literature and culture. Second, ‘Cosmopolis’ also refers to Ford’s experiences of the particular cosmopolitan cities he lived in: London, Paris, New York. Third, the idea that his lifelong experience of Paris in particular informed and shaped his writing. Ford’s Cosmopolis is thus not only an ideal city or state open to such cosmopolitan exchange. It is also a mode of writing which invents forms and styles to render the experience of such hybridity, diversity, fluidity, and tolerance. Contributors are: Alexandra Becquet, Helen Chambers, Martina Ciceri, Laurence Davies, Claire Davison, Annalisa Federici, Georges Létissier, Caroline Patey, Andrea Rummel, Max Saunders, Rob Spence, Martin Stannard, George Wickes, Joseph Wiesenfarth.

Taking account of Ford Madox Ford’s entire literary output, this companion brings together prominent Ford specialists to offer an overview of existing Ford scholarship and to suggest new directions in Ford studies. The Routledge Research Companion to Ford Madox Ford is split into five parts, exploring the scholarly foundations of Ford Madox Ford studies, Ford's literary identity, Ford and place, specific case studies and themes and critical approaches. Within these five parts, the contributors cover areas relevant to Ford’s fiction, nonfiction and poetry, including reception history, life-writing, literary histories, gender and comedy. The Routledge Research Companion to Ford Madox Ford is an invaluable resource for students and scholars in Ford Studies, in modernism, and in the literary world that Ford helped shape in the early years of the twentieth century.

The Good Soldier A Tale of Passion by Ford Madox Ford At the fashionable German spa town Bad Nauheim, two wealthy, fin de siecle couples - one British, the other American - meet for their yearly assignation. As their story moves back and forth in time between 1902 and 1914, the fragile surface propriety of the pre - World War I society in which these four characters live is ruptured - revealing deceit, hatred, infidelity, and betrayal. "The Good Soldier" is Edward Ashburnham, who, as an adherent to the moral code of the English upper class, is nonetheless consumed by a passion for women younger than his wife - a stoic but fallible figure in what his American friend, John Dowell, calls "the saddest story I ever heard."

Following WWI, an English aristocrat struggles to find peace as he attempts to rebuild his life in this conclusion to the Parade’s End Tetralogy. The Great War is over. The ancestral home of Christopher Tietjens has been sold to an American. Christopher and Valentine Wannop now share a cottage with his brother and sister-in-law. A mathematician before the war, Christopher now earns a living selling antique furniture. It seems his world will be forever changed . . . Set over the course of one summer day, The Last Post follows its characters as they amble through a disorientating new world. Tensions arise for the inhabitants of the cottage. Valentine is pregnant and worried about her unmarried status as well as Christopher’s money troubles. Then Christopher’s estranged wife schemes to make their lives miserable. With the past haunting their present, the future seems uncertain for Christopher and Valentine. Praise for Parade’s End “The finest English novel about the Great War.” —Malcolm Bradbury “There are not many English novels which deserve to be called great: Parade’s End is one of them.” —W. H. Auden “The best novel by a British writer. . . . It is also the finest novel about the First World War. It is also the finest novel about the nature of British society.” —Anthony Burgess “The English prose masterpiece of the time.” —William Carlos Williams

As a hero of the modernist literary revolution, Ford Madox Ford is a fascinating figure of the early 20th century. Haslam explores continuity and crisis in artistic life during the early 20th century through a study of Ford's work and life.

The controversial British writer Ford Madox Ford is increasingly recognized as a major presence in early twentieth-century literature. He is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which was adapted by Tom Stoppard for the acclaimed 2012 television series, starring Benedict Cumberbatch. This volume marks the centenary of The Good Soldier, with eighteen essays by established experts and new scholars. It includes groundbreaking work on the novel’s narrative technique, chronology, and genre; plus pioneering work considering the treatment of bodies and minds; eugenics; poison; and surveillance. Innovative comparative studies discuss Ford’s novel in relation to Henry James, Violet Hunt, H. G. Wells, Franz Kafka, Jean Rhys, David Jones, and Lawrence Durrell.

For students and readers new to the work of Ford Madox Ford, this volume provides a comprehensive introduction to one of the most complex, important and fascinating authors. Bringing together leading Ford scholars, the volume places Ford's work in the context of significant literary, artistic and historical events and movements. Individual essays consider Ford's theory of literary Impressionism and the impact of the First World War; illuminate The Good Soldier and Parade's End; engage with topics such as the city, gender, national identity and politics; discuss Ford as an autobiographer, poet, propagandist, sociologist, Edwardian and modernist; and show his importance as founding editor of the groundbreaking English Review and transatlantic review. The volume encourages detailed close reading of Ford's writing and illustrates the importance of engaging with secondary sources.

This monumental novel, divided into four separate books, celebrates the end of an era, the irrevocable destruction of the comfortable, predictable society that vanished during World War I.

Preliminary Material -- LIST OF ILLUSTRATIONS -- GENERAL EDITOR'S PREFACE /Max Saunders -- INTRODUCTION /Laura Colombino -- FROM PAINT TO PRINT - GRANDFATHER'S LEGACY /Angela Thirlwell -- FORD MADOX FORD'S ART CRITICISM AS A RESERVOIR FOR HIS NARRATIVE POETICS /Vita Fortunati -- FROM PRE-RAPHAELISM TO IMPRESSIONISM /Max Saunders -- IMAGE-MUSIC-TEXT: FORD AND THE IMPRESSIONIST LYRIC /Ashley Chantler -- TO COOK, OR TO PAINT, IN PARIS?: FORD IN COLOUR /Sara Haslam -- VISUALITY VS. TEMPORALITY: PLOTTING AND DEPICTION IN THE FIFTH QUEEN AND LADIES WHOSE BRIGHT EYES /Rob Hawkes -- THE PORTRAIT: FORD'S CHEF-D'ɶUVRE INCONNU /Gene M. Moore -- FORD MADOX FORD'S LITERARY PORTRAITS /Anna Viola Sborgi -- FORDING HOLBEIN /Martin Stannard -- SKULL/BRAIN DRAIN STAIN (THE AMBASSADORS) /guy mannes-abbott -- 'IF WE SHADOWS HAVE OFFENDED': THE METAPHOR OF SHADOW IN THE MARSDEN CASE /Jenny Plastow -- A MAP OF TORY MISREADING IN PARADE'S END /Mark Conroy -- MODERNITY, SHOCK AND CINEMA: THE VISUAL AESTHETICS OF FORD MADOX FORD'S PARADE'S END /Alexandra Becquet -- FORD, BOWEN, AND ITALIAN ART /Joseph Wiesenfarth -- FORD + BIALA: A LONG AND PASSIONATE DIALOGUE /Jason Andrew -- FORD, MATISSE AND THE BOOK OF THE DEAD: THE (IN)VISIBLE OBJECTS OF THE RASH ACT AND HENRY FOR HUGH /Laura Colombino -- CONTRIBUTORS -- ABSTRACTS -- ABBREVIATIONS.