Ford Madox Ford’s Parade’s End

The First World War, Culture, and Modernity

Editeur(s) : Hawkes Rob, Chantler Ashley

56,00 €

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.

Parade’s End is the subject of the fifteen essays here, by both established experts and new scholars. The volume includes groundbreaking work on the psycho-geography of the war in Ford’s novels; on how the war intensifies self-consciousness about performance and sensation; and on the other writers and artists Ford drew upon, and argued with, in producing his post-war masterpiece.

    Collection : International Ford Madox Ford Studies

  • Publication 2014
  • ISSN 1569-4070
  • ISBN 978-90-420-3863-9
  • Support Livre broché
  • Format 15 x 22
  • Num. dans la collection 13
  • Nombre de pages 222


Max Saunders: General Editor’s Preface

Rob Hawkes: Introduction

Section 1: Sound, Silence, and Performance

John Attridge: ‘A Taboo on the Mention of Taboo’: Taciturnity and Englishness in Parade’s End and André Maurois’ Les Silences du Colonel Bramble

Sara Haslam: From Conversation to Humiliation: Parade’s End and the Eighteenth Century

Tom Vandevelde: ‘Are You Going to Mind the Noise?’: Mapping the Soundscape of Parade’s End

Angus Wrenn: Wagner’s Ring Cycle and Parade’s End

John B. Murphy: ‘The ’ind Legs of the Elephink’: Pantomime, Prophecy, and Tosh in Parade’s End

Section 2: Psycho-Geography of War

Michael Charlesworth: Panorama, the Map, and the Divided Self: No Enemy, No More Parades, and Tolkien’s The Lord of the Rings

Elizabeth Hodges: Sight and Scale in Parade’s End

Seamus O’Malley: How Much Mud Does a Man Need? Land and Liquidity in Parade’s End

Paul Skinner: Tietjens Walking, Ford Talking

Adam Piette: War and Division in Parade’s End

Section 3: Contrasts: Love, Death, and Alterity

Rob Spence: Ford and Lewis: The Attraction of Opposites

Austin Riede: ‘Cleaned, Sand-Dried Bones’: Christopher Tietjens and the Labour of War

Isabelle Brasme: Articulations of Femininity in Parade’s End

Alec Marsh: ‘Better Far’: Ford and Rossettian Attitudes

Joseph Wiesenfarth: Death in the Wasteland: Ford, Wells, and Waugh



Other Volumes in the Series

The Ford Madox Ford Society