Ford Madox Ford's The Good Soldier

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).

• CONTENTSIntroduction MAX SAUNDERSSECTION 1: NARRATIVE, CHRONOLOGY, GENRE The Good Soldier: Ford’s Postmodern NovelCATHERINE BELSEYJuly 4 to August 4: Paradigmatic and Palimpsestic Plots in The Good SoldierMELBA CUDDY-KEANEThe Good Soldier and the Problem of Compositional (Un)ReliabilityEYAL SEGALFrom Disfigured to Transfigured Past: Memory and History in The Good SoldierISABELLE BRASME‘It is Melodrama; but I Can’t Help It’: Dowell’s Melodramatic ImaginationROB HAWKESScreening The Good SoldierJANET HARRISSECTION 2: MIND/BODY, CARE, TREATMENTDowell and Dopamine: Information, Pleasure and Plot SARA HASLAMThe Case of The Good SoldierMAX SAUNDERSAffairs of the Heart: Illness and Gender Subversion in The Good SoldierELIZABETH BRUNTONCaring to Know: Narrative Technique and the Art of Public Nursing in The Good SoldierBARRY SHEILS‘Rabbiting On’: Fertility, Reformers and The Good SoldierPAUL SKINNERThe Good Soldier: A Tale of Poison. Lethal Little Bottles in the Work of Ford Madox Ford and Violet HuntVENETIA ABDALLASECTION 3: CONTEXTS AND CONTRASTS‘Early Kipling Told by Henry James’: A Reading of The Good SoldierHARRY RICKETTSAnglo-German Dilemmas in The Good Soldier, or: Europe on the Brink in 1913JULIAN PREECE‘The End is Where We Start from’: Spatial Aspects of Retrospection in The Good Soldier and In ParenthesisCARA CHIMIRRIGood People and Chorus Girls: The Notion of Respectability in The Good Soldier and QuartetNAGİHAN HALİLOĞLULove’s Knowledge: Realisation Beyond Defence: Durrell’s Alexandria Quartet After, and Beyond, Ford’s The Good SoldierOMAR SABBAGH‘Don’t You See?’: Surveillance and Utopian Tranquillity in The Good SoldierPETER MARKSContributors