"Ford Madox Ford and the City assembles fourteen pioneering essays, by new as well as established European and American scholars, exploring Ford's representations of real and ideal cities, across the full range of his work, from his earliest verse, to his post-war prose and poetry of the 1920s and 1930s."--BOOK JACKET.

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.

Ford's evocation of the growth of London, of the bewildering variety of the city scene by day and night, of the glamour and frivolity of its 'high' life and the hardship of its working people is a work of imaginative literature, not a guide book. Other writers had explored the 'facts' of London, but for Ford impressions take the place of information and argument. Part history, part personal reminiscence, and part prose poem which renders 'the moods of many individuals' in relation to the urban landscape, The Soul of London reads at times like fiction where the scene is set for characters who never appear. But it is also a journey of discovery into the nature of modern city life and our ways of coming to terms with it.

This early work by Ford Madox Ford was originally published in 1905 and we are now republishing it with a brand new introduction. Ford Madox Ford was born Ford Madox Hueffer in Merton, Surrey, England on 17th December 1873. The creative arts ran in his family - Hueffer's grandfather, Ford Madox Brown, was a well-known painter, and his German émigré father was music critic of The Times - and after a brief dalliance with music composition, the young Hueffer began to write. Although Hueffer never attended university, during his early twenties he moved through many intellectual circles, and would later talk of the influence that the "Middle Victorian, tumultuously bearded Great" - men such as John Ruskin and Thomas Carlyle - exerted on him. In 1908, Hueffer founded the English Review, and over the next 15 months published Thomas Hardy, H. G. Wells, Joseph Conrad, Henry James, John Galsworthy and W. B. Yeats, and gave débuts to many authors, including D. H. Lawrence and Norman Douglas. Hueffer's editorship consolidated the classic canon of early modernist literature, and saw him earn a reputation as of one of the century's greatest literary editors. Ford's most famous work was his Parade's End tetralogy, which he completed in the 1920's and have now been adapted into a BBC television drama. Ford continued to write through the thirties, producing fiction, non-fiction, and two volumes of autobiography: Return to Yesterday (1931) and It was the Nightingale (1933). In his last years, he taught literature at the Olivet College in Michigan. Ford died on 26th June 1939 in Deauville, France, at the age of 65.

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.

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."

Ford Madox Ford's literary relations with Joseph Conrad are closely and systematically examined in this volume in order to determine the nature of the various kinds of help Ford claimed to have given his famous friend and collaborator.

Tracing a line of transatlantic aesthetics and gendered productions of modernism, this monograph reveals the centrality of agriculture, cookery, domestic work and institutional dining to modernist authors.

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.