From Conversation to Humiliation: Parade’s End and the Eighteenth Century

Haslam, Sara

doi:10.1163/9789401211055_005

Cited by 5 publications

(6 citation statements)

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“…In A View of the Nervous Temperament, Thomas Trotter also links nervous disorders to the British in the 19th century (Trotter 1808). This disposition to nerve-wracking conditions, or the 18th century perspective of sensibility (emotional catharsis), finds a continuum in the medium of suffering in Ford's writings, especially Parade's End (Haslam 2014). Critics have noted the importance of the 18th century to Ford, and particularly to Tietjens and Parade's End.…”

Section: Modernitymentioning

confidence: 99%

Ford Madox Ford’s Unusual War: Ongoing Worry and Modernity

Karatas

2024

Humanities

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In Parade’s End, Ford Madox Ford approaches the experience of trauma in an unusual way—it is no longer just past experiences, but the expectancy of dismal events that become as traumatic. Ford chooses worry for such rendering. In order to make the correlation between suffering and sensibility, he places worry in the lives of his characters, which reflects on Ford’s own life. This discussion will introduce the idea that worry is going to be a major component of Ford’s psychologising of war. I explore this worry-driven sensibility and the ways it is reflected, especially in the characters’ obsession with the anticipation of death and face-forward mourning. Within this loss-filled atmosphere, worry over being killed dominates the narrative and continually feeds the sentiment of mournfulness. The Great War transforms into a Greater War, seeping into the societal realm, where it amplifies the private emotional battles of the characters, centred around worry. Consequently, the narrative highlights the coexistence of these personal and public conflicts, ultimately resulting in both physical and psychological losses throughout the story.

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Section: Modernitymentioning

confidence: 99%

Ford Madox Ford’s Unusual War: Ongoing Worry and Modernity

Karatas

2024

Humanities

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“…The world of the dead, or the supernaturally monstrous, intrudes into the world of the living', and requires 'a revision of an empirical understanding of the world' (Malcolm 2016, p. 62). 28 As the doctor 'sees' the band playing 'Hitchy Koo', the historical frame is skewed, with language, dress, and action of the eighteenth century; the return to this moment anticipates Tietjens's preference for that era in Parade's End (see Haslam 2014). However, he then moves from this ante-room into a 'long white inner room [.…”

Section: 'Fun!-it's Heaven'mentioning

confidence: 99%

The First World War and Ford Madox Ford’s Short Stories, 1914–1920

Frayn

2024

Humanities

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This article analyses together, for the first time, Ford Madox Ford’s short stories about the First World War. A surprisingly unfamiliar form for Ford, who valued allusion, subtlety, and omission as narrative devices, we see in these stories his first attempts to parse his experience of wartime and, subsequently, military service. It is also an aspect of Ford’s writing which has received little previous critical comment. The wartime and post-war short stories are approached chronologically: ‘The Scaremonger: A Tale of the War Times’ (1914), ‘Fun!—It’s Heaven’ (1915), ‘Pink Flannel’ (1919), ‘The Colonel’s Shoes’ (1920), ‘Enigma’ ([1920–1922] 1999), and ‘The Miracle’ (1928). The contemporary debates in which Ford intervened are highlighted by returning to their original periodical publications, and extensive reference to a range of his non-fictional periodical contributions establishes new connections among his wartime writing. Here I bring together for the first time these short stories, arguing that Ford’s refracting of the war through the lens of his impressionism is distinctive as an early response to war, trauma, and neurosis and is vital to the genesis of his later successes in prose, notably the Parade’s End novel tetralogy (1924–1928).

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“…Haslam has noted how the connection between materiality and history and the way things can create links to the past seems to have been a recurring concern for Ford in Last Post and can explain "Ford's thematic obsession with furniture in Parade's End". 47 Haslam argues that Tietjens' choice to become a furniture dealer derives from a desire to preserve the history of the objects: "Alienated from his birth-right in this respect, he makes do with preserving others' histo-ries". 48 Tietjens attempts to reconstruct old and dilapidated furniture could be read as an attempt to re-establish historical continuity or at least recuperate a lost past.…”

Section: Things Memory and Loss Of Heritagementioning

confidence: 99%

“…47 Haslam argues that Tietjens' choice to become a furniture dealer derives from a desire to preserve the history of the objects: "Alienated from his birth-right in this respect, he makes do with preserving others' histo-ries". 48 Tietjens attempts to reconstruct old and dilapidated furniture could be read as an attempt to re-establish historical continuity or at least recuperate a lost past. In this sense the furniture function as Brown's "thing", Ford invests them with a meaning which is not simply symbolic, but historical, social, and affective -showing their use and physicality as well as their function as objects of economic value.…”

Section: Things Memory and Loss Of Heritagementioning

confidence: 99%

“…Haslam notes this duality by observing how, by selling the furniture he becomes "another agent in the disruption of family history", yet she emphasises the importance of the fact that he also manages to preserve "its material existence" through redistribution. 49 And whilst Tietjens undeniably engages with material and historical preservation, the question whether his interaction with objects and the narrative as a whole support this as a viable possibility remains.…”

Section: Things Memory and Loss Of Heritagementioning

confidence: 99%

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Fleeting Furniture

Fernelius

2024

TfL

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In the last novel of the Parade’s End-series, Last Post (1928), Ford Madox Ford depicts the aftermath of the First World War, and the cataclysmic social, cultural, and material changes it caused, from the perspective of the Tietjens brothers’ rural home in Kent. The novel’s position in the tetralogy has often been questioned, as its setting as well as form differs significantly from the previous three novels. However, as this article will show, the novel also offers Ford’s most substantial examination of the consequences of war. This article looks at the importance of things in Ford’s depiction of post-war reconstruction, arguing that by foregrounding furniture and other domestic objects as a thematic concern, Ford seeks to evade a homogenising narrative of reconciliation and patriotic celebration. The novel participates in a modernist rejection of empirical, objective representation, where things rather than events serve as nodes of reference for the psychological as well as material transformations of the Post-War period.

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From Conversation to Humiliation: Parade’s End and the Eighteenth Century

Cited by 5 publications

References 0 publications

Ford Madox Ford’s Unusual War: Ongoing Worry and Modernity

Ford Madox Ford’s Unusual War: Ongoing Worry and Modernity

The First World War and Ford Madox Ford’s Short Stories, 1914–1920

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