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Ford Madox Ford's The Good Soldier
Centenary Essays
Series: - International Ford Madox Ford Studies, Volume: 14
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 Paradeâs 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 novelâs narrative technique, chronology, and genre; plus pioneering work considering the treatment of bodies and minds; eugenics; poison; and surveillance. Innovative comparative studies discuss Fordâs novel in relation to Henry James, Violet Hunt, H. G. Wells, Franz Kafka, Jean Rhys, David Jones, and Lawrence Durrell.
This volume marks the centenary of The Good Soldier, with eighteen essays by established experts and new scholars. It includes groundbreaking work on the novelâs narrative technique, chronology, and genre; plus pioneering work considering the treatment of bodies and minds; eugenics; poison; and surveillance. Innovative comparative studies discuss Fordâs novel in relation to Henry James, Violet Hunt, H. G. Wells, Franz Kafka, Jean Rhys, David Jones, and Lawrence Durrell.
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 Kingâs 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 Fordâs 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 Fordâs 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 OâMalley, 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 Fordâs A Man Could Stand Up â was published in 2011 (Carcanet Press).
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 Fordâs 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 OâMalley, 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 Fordâs A Man Could Stand Up â was published in 2011 (Carcanet Press).
CONTENTS
Introduction
MAX SAUNDERS
SECTION 1: NARRATIVE, CHRONOLOGY, GENRE
The Good Soldier: Fordâs 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
âIt is Melodrama; but I Canât Help Itâ:
Dowellâs 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
âRabbiting Onâ: 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
âEarly Kipling Told by Henry Jamesâ:
A Reading of The Good Soldier
HARRY RICKETTS
Anglo-German Dilemmas in The Good Soldier,
or: Europe on the Brink in 1913
JULIAN PREECE
âThe End is Where We Start fromâ: 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
NAGÄ°HAN HALÄ°LOÄLU
Loveâs Knowledge: Realisation Beyond Defence:
Durrellâs Alexandria Quartet After, and Beyond,
Fordâs The Good Soldier
OMAR SABBAGH
âDonât You See?â:
Surveillance and Utopian Tranquillity in The Good Soldier
PETER MARKS
Contributors
Introduction
MAX SAUNDERS
SECTION 1: NARRATIVE, CHRONOLOGY, GENRE
The Good Soldier: Fordâs 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
âIt is Melodrama; but I Canât Help Itâ:
Dowellâs 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
âRabbiting Onâ: 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
âEarly Kipling Told by Henry Jamesâ:
A Reading of The Good Soldier
HARRY RICKETTS
Anglo-German Dilemmas in The Good Soldier,
or: Europe on the Brink in 1913
JULIAN PREECE
âThe End is Where We Start fromâ: 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
NAGÄ°HAN HALÄ°LOÄLU
Loveâs Knowledge: Realisation Beyond Defence:
Durrellâs Alexandria Quartet After, and Beyond,
Fordâs The Good Soldier
OMAR SABBAGH
âDonât You See?â:
Surveillance and Utopian Tranquillity in The Good Soldier
PETER MARKS
Contributors
All interested in modern English literature, the novel, modernism, fiction, narrative, comparative literature, medical humanities, and adaptation.