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’; and Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’.
After the war Ford moved to France, beginning
Parade’s End on the Riviera, 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 James Joyce and Gertrude Stein. From the late 1920s he spent more time in his beloved Provence, where he took a house with the painter Janice Biala.
The present volume, combining contributions from eighteen British, French and American experts on Ford, and Modernism, has two connected sections. The first, on Ford’s engagement with France and French culture, is introduced by an essay by Ford himself, written in French, about France, and republished and also translated here for the first time; and includes an essay on literary Paris of the 1920s by the leading biographer Hermione Lee. The second, on Ford and Provence, is introduced in an essay by the novelist Julian Barnes, and includes a selection of previously unpublished letters from Janice Biala about her life with Ford in Provence.
The volume also contains 16 pages of illustrations, including previously unseen photographs of Ford and Biala, and reproductions of Biala’s paintings and drawings of Provence.
List of Illustrations
Max Saunders: General Editor’s Preface
Dominique Lemarchal: An Introduction: Ford and France, Ford’s Provence: Appry la Gair Finny
Section 1: Ford and France Ford Madox Ford: Que Pensez-Vous de la France?
Hermione Lee: ‘In Separate Directions’: Ford Madox Ford and French Networks
Gil Charbonnier: Ford Madox Ford and Valery Larbaud: Critical Convergences
Christopher Bains: Poetic Triangulations: Ford, Pound, and the French Literary Tradition
Sam Trainor: Third Republic French Philosophy and Ford’s Evolving Moral Topologies
Ellen Lévy: Maplines: Visions of France in Ford Madox Ford’s
No Enemy Alexandra Becquet: Impressionist Confusion, Dissolving Landscape: Reconstructing Provence
Caroline Patey: France as Fieldwork, or, Ford the Ethnographer
Robert E. McDonough: Ford Madox Ford’s Mirrors to France
Section 2: Ford and Provence Julian Barnes: Ford and Provence
Hélène Aji: Letters to and from Toulon: Ford Madox Ford and Ezra Pound’s Provençal Connections
Jason Andrew: In Provence: The Life of Ford Madox Ford and Biala
Angela Thirlwell: Ford’s Provence: A Pre-Raphaelite Vision
Ashley Chantler: Ford Madox Ford and the Troubadours
Christine Reynier: Reading
The Rash Act in the Light of
Provence: The Encounter of Ethics and Aesthetics
Rob Hawkes: Trusting in Provence: Financial Crisis in
The Rash Act and
Henry for Hugh Martin Stannard: Going South for Air: Ford Madox Ford’s
Provence John Coyle: Ford, James and Daudet: The Charming Art of Touching up the Truth
Max Saunders: Ford’s Thought-Experiments: Impressionism, Place, History, and ‘the Frame of Mind That is Provence’
Other Volumes in the Series
The Ford Madox Ford Society