Ford Madox Ford

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Ford, Ford Madox,

1873–1939, English author; grandson of Ford Madox BrownBrown, Ford Madox,
1821–93, English historical painter, b. Calais, France. Although closely affiliated with the Pre-Raphaelites in London, he never joined the brotherhood. Examples of his paintings are Work (1852–63; Manchester Art Gall.
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. He changed his name legally from Ford Madox Hueffer in 1919. The author of over 60 works including novels, poems, criticism, travel essays, and reminiscences, Ford also edited the English Review (1908–11) and the Transatlantic Review (1924, Paris); among his contributors were Thomas Hardy, James Joyce, and D. H. Lawrence. Ford's most important fictional works are The Good Soldier (1915), a subtle and complex novel about the relationship of two married couples, and a tetralogy (1924–28): Some Do Not, No More Parades, A Man Could Stand Up, and The Last Post (pub. together as Parade's End, 1950). These works reveal the collapse of the Tory-Christian virtues under the violence and social hypocrisy that culminated in World War I. Ford collaborated with Joseph ConradConrad, Joseph,
1857–1924, English novelist, b. Berdichev, Russia (now Berdychiv, Ukraine), originally named Jósef Teodor Konrad Walecz Korzeniowski. Born of Polish parents, he is considered one of the greatest novelists and prose stylists in English literature.
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 on The Inheritors (1901), Romance (1903), and other works. His memoir of Conrad (1924) discusses the narrative techniques that the two writers evolved. Toward the end of his life, Ford lived in France and the United States and was a member of the faculty of Olivet College in Michigan.


See his letters (ed. by R. M. Ludwig, 1965); biographies by F. MacShane (1965), A. Mizener (1971, repr. 1985), and J. Wiesenfarth (2005); studies by F. MacShane, ed. (1972), S. Stand, ed. (1981), A. B. Snitow (1984), and R. A. Cassell, ed. (1987).

References in periodicals archive ?
6) Ford Madox Ford, Joseph Conrad: A Personal Remembrance, New York: The Ecco Press, 1989,193-94.
In noting how Hemingway, Ford Madox Ford, and other writers are congregating in Paris, he says: "Among so many writers, one might pursue the phantom--intellect--but encounter mere shop talk and the diplomacies of writers pretending to be awed by the others' success.
In beginning this essay, I suggested that Ford Madox Ford suffered from anxiety over the condition of Western culture during the period leading up to the First World War.
When Ford Madox Ford complained that 'there are no efficient young men to manage things', he exposed his own complicity in the crime of making women invisible which was prevalent at the time and which has subsequently affected perceptions of the relative merit of participants in the literary process.
1) Ford Madox Ford, No Enemy, (1929; New York, 1984), pp.
Eliot and Ford Madox Ford (who is found to be too large to rise out of his chair to greet him) fall away at last.
Jacobs begins by looking at the structural anthropologist Claude Levi-Strauss, then moves to the twentieth-century novelist Ford Madox Ford (the subject of two chapters), Gotthold Lessing, the 18th-century German philosopher and art critic, the translator (as literary critic) Walter Benjamin, and the critic (as deconstructionist) Paul de Man, and concludes with a discussion of two poets, William Wordsworth and Rainer Maria Rilke.
Over the years McAlmon issued works by himself and Bryher; Williams' Spring and All; Ernest Hemingway's first book; The Making of Americans by Gertrude Stein; and Contact Collection of Contemporary Writers, an anthology including works by James Joyce and Ford Madox Ford.
Not a Titian or a Faulkner in this crowd, the citizenry suspected-not even a Fragonard or a Ford Madox Ford.
Nixon " ), or he barely manages to exist in a solitary and destitute state, as did Ford Madox Ford (the " stylist " ).