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. 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 has been adapted by Tom Stoppard for the acclaimed BBC/HBO television series.This volume focuses on Ford’s work from the Edwardian decade and a half before the First World War. It contains Michael Schmidt’s Ford Madox Ford Lecture, and fourteen other essays by British, American, French and German experts, both leading authorities and younger scholars. Chapters on Ford’s fiction, poetry, criticism of literature and painting, writing about England, and dealings on the Edwardian literary scene as editor and with publishers, bring out his versatility and ingenuity throughout his first major creative phase.
Table of Contents
Max Saunders: General Editor’s PrefaceMax Saunders: Introduction: Edwardian Ford?Section 1: Ford on the Edwardian Literary Scene: Publishing and CriticismSara Haslam: Ford as Edwardian Author: Publishers, Trends, MarketsMichael Schmidt: Ford Madox Ford: The Good CollaboratorDominique Lemarchal: Ford’s Henry James as a Double ImpressionJoseph Wiesenfarth: Ford / Forster: Novel / NuvvleSection 2: Concern for the CountryAshley Chantler: ‘In This Dead-Dawning Century’: Ford Madox Ford’s Edwardian PoetryDonald Mackenzie: Edwardian Idyll, Edwardian Mapping: The Heart of the CountrySection 3: Edwardian Anxieties and Modern FictionsMax Saunders: Empire of the Future: The Inheritors, Ford, Liberalism and ImperialismVenetia Abdalla: ‘That Neurasthenia Joke’: Degeneration and Eugenics in the Work of Ford Madox Ford and Violet HuntGeraint Evans: Modernity and the Technology of Communication in Ford Madox Ford’s A Call and Henry James’s In the CageLeslie de Bont: From the Priest to the Therapist: Secrecy, Technique and Language in Ford Madox Ford’s A Call and May Sinclair’s Anne Severn and the FieldingsSection 4: Fantasy, Vision and HistoryLaurence Davies: Ford’s Early Fiction and ‘Those Queer Effects of Real Life’Jörg W. Rademacher: Ford Madox Ford on Hans Holbein, the Younger: Writing on Portraits and Portraits in WritingSeamus O’Malley: The Fifth Queen, Revisionary History and the Staging of NostalgiaPaul Skinner: ‘Pretty Big and Serious’: Ford Madox Ford and The Young LovellContributorsAbstractsAbbreviationsOther Volumes in the SeriesThe Ford Madox Ford Society