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).

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References in periodicals archive ?
The French lieutenant's appearance is relatively brief, yet Ford Madox Hueffer devotes three pages to a discussion of the French lieutenant and competing French and English notions of honor.
And the volume ends with two sorry skirmishes over Conrad's reputation after his death between, first, Jessie Conrad and Ford Madox Hueffer, and then Jessie Conrad and Edward Garnett.
In this paper, however, I focus not on reciprocal influences and stimulations, but restrict myself to examining some aspects of the turn-of-the-twentieth-century novel signed by Joseph Conrad and Ford Madox Hueffer, published just over one hundred years ago in New York by McClure, and in London by Heinemann.
Featured among its list of trailblazing contributors are the names of Ford Madox Hueffer, James Joyce, Wyndham Lewis, Ezra Pound, and Arthur Symons.