Ford Madox Ford's The Good Soldier

Centenary Essays

Series:

Editors: Max Saunders and Sara Haslam
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.
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Biographical Note

MAX SAUNDERS is Director of the Arts and Humanities Research Institute, Professor of English and Co-Director of the Centre for Life-Writing Research at King’s College London, where he teaches modern literature. He studied at the universities of Cambridge and Harvard, and was a Fellow of Selwyn College, Cambridge. He is the author of Ford Madox Ford: A Dual Life, 2 vols (Oxford University Press, 1996) and Self Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford University Press 2010); the editor of five volumes of Ford’s writing, including an annotated critical edition of Some Do Not . . . (Carcanet, 2010), and has published essays on life-writing, on impressionism, and on a number of modern writers. He was awarded a Leverhulme Major Research Fellowship from 2008-10 to research the To-Day and To-Morrow book series; and in 2013 an Advanced Grant from the ERC for a 5-year collaborative project on Digital Life Writing.

SARA HASLAM is Senior Lecturer in English at the Open University. She is the author of Fragmenting Modernism: Ford Madox Ford, the Novel and the Great War (Manchester University Press, 2002), and editor of Ford’s The Good Soldier (Wordsworth Classics, 2010), and England and the English (Carcanet Press, 2003), as well as Ford Madox Ford and the City (Rodopi, 2005) and, with Seamus O’Malley, Ford Madox Ford and America (Rodopi, 2012). Further publications include Life Writing (Routledge, 2009, with Derek Neale), and chapters and articles on Henry James, Thomas Hardy, the Brontës, modernism, and the literature of the First World War, most recently in the Journal of First World War Studies, 4:2 (2013). She was a founder member of the Ford Madox Ford Society, and has been its Chair since 2007. Her annotated critical edition of Ford’s A Man Could Stand Up – was published in 2011 (Carcanet Press).

Table of contents

CONTENTS

Introduction
MAX SAUNDERS

SECTION 1: NARRATIVE, CHRONOLOGY, GENRE

The Good Soldier: Ford’s Postmodern Novel
CATHERINE BELSEY

July 4 to August 4:
Paradigmatic and Palimpsestic Plots in The Good Soldier
MELBA CUDDY-KEANE

The Good Soldier and the Problem
of Compositional (Un)Reliability
EYAL SEGAL

From Disfigured to Transfigured Past:
Memory and History in The Good Soldier
ISABELLE BRASME

‘It is Melodrama; but I Can’t Help It’:
Dowell’s Melodramatic Imagination
ROB HAWKES

Screening The Good Soldier
JANET HARRIS

SECTION 2: MIND/BODY, CARE, TREATMENT

Dowell and Dopamine: Information, Pleasure and Plot
SARA HASLAM

The Case of The Good Soldier
MAX SAUNDERS

Affairs of the Heart:
Illness and Gender Subversion in The Good Soldier
ELIZABETH BRUNTON

Caring to Know: Narrative Technique
and the Art of Public Nursing in The Good Soldier
BARRY SHEILS

‘Rabbiting On’: Fertility, Reformers and The Good Soldier
PAUL SKINNER

The Good Soldier: A Tale of Poison. Lethal Little Bottles
in the Work of Ford Madox Ford and Violet Hunt
VENETIA ABDALLA


SECTION 3: CONTEXTS AND CONTRASTS

‘Early Kipling Told by Henry James’:
A Reading of The Good Soldier
HARRY RICKETTS

Anglo-German Dilemmas in The Good Soldier,
or: Europe on the Brink in 1913
JULIAN PREECE

‘The End is Where We Start from’: Spatial Aspects
of Retrospection in The Good Soldier and In Parenthesis
CARA CHIMIRRI


Good People and Chorus Girls: The Notion of Respectability
in The Good Soldier and Quartet
NAGİHAN HALİLOĞLU

Love’s Knowledge: Realisation Beyond Defence:
Durrell’s Alexandria Quartet After, and Beyond,
Ford’s The Good Soldier
OMAR SABBAGH

‘Don’t You See?’:
Surveillance and Utopian Tranquillity in The Good Soldier
PETER MARKS

Contributors

Readership

All interested in modern English literature, the novel, modernism, fiction, narrative, comparative literature, medical humanities, and adaptation.

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