Parade's End [Paperback]

Ford Madox Ford (Author), Gerald Hammond (Afterword)

Book Description

Publication Date: March 1, 2007 | Series: Parade's End

"Parade's End" is the title Ford Madox Ford gave to his greatest work, the four Tietjens novels which - in Graham Greene's words - tell 'the terrifying story of a good man tortured, pursued, driven into revolt, and ruined as far as the world is concerned by the clever devices of a jealous and lying wife'. He wanted to see the book printed in one volume: "Some Do Not" (1924), "No More Parades" (1925) and "A Man Could Stand Up" (1926), with his afterthought, "The Last Post" (1928). Christopher Tietjens is the last of a breed, the Tory gentleman, which the Great War, a savage marriage to Sylvia, and the qualities inherent in his nature, define and unravel. Here, the War's attritions offered no escape from domestic witchcraft. Opposite Tietjens is Macmaster, a Scot, different in class and culture, at once friend and foil. Here, Ford's art and his human vision achieve their greatest complexity and subtlety. Gerald Hammond is Professor of English at the University of Manchester, author of "The Making of the English Bible", "Fleeting Things" and other critical volumes and editor of the "Selected Poems of John Skelton" and of "Richard Lovelace" in the "FyfieldBooks" series. This volume is part of The Millennium Ford project which aims to bring all the major writings of this great writer back into circulation.

Editorial Reviews

Review

'the terrifying story of a good man tortured, pursued, driven into revolt, and ruined as far as the world is concerned by the clever devices of a jealous and lying wife' Graham Greene '[Ford] was the only Englishman who stood alongside the great "moderns" - Joyce, Eliot and Pound' Peter Ackroyd 'Of the various demands one can make of the novelist, that he show us the way in which a society works, that he show an understanding of the human heart, that he create characters whose reality we believe and for whose fate we care, that he describe things and people so that we feel their physical presence, that he illuminate our moral consciousness, that he make us laugh and cry, that he delight us by his craftsmanship, there is not one, it seems to me, that Ford does not completely satisfy. There are not many English novels which deserve to be called great: Parade's End is one of them.' W.H.Auden, 1961

From the Inside Flap

This monumental novel, divided into four separate books, celebrates the end of an era, the irrevocable destruction of the comfortable, predictable society that vanished during World War I. --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 846 pages
• Publisher: Carcanet Press Ltd. (March 1, 2007)
• Language: English
• ISBN-10: 1857548922
• ISBN-13: 978-1857548921
• Product Dimensions: 8.5 x 5.3 x 1.5 inches
• Shipping Weight: 2.2 pounds (View shipping rates and policies)
• Average Customer Review: 4.5 out of 5 stars  See all reviews (20 customer reviews)
• Amazon Best Sellers Rank: #2,609,114 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

88 of 89 people found the following review helpful:

5.0 out of 5 stars Ford's Last Readers, June 30, 1999

By 

Harry Zimmerman "harrymacz" (Covington, LA USA) - See all my reviews
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This review is from: Parade's End (Everyman's Library) (Hardcover)

I find it very sad that this great novel has again gone out of print, perhaps never to reappear after Everyman had to put it on remainder. Granted, as the reviews below note, it is written in an elliptical manner with time shifts, interior monologues as substitutions for action scenes and other moderist devices which make this book, like the Ulysses of Joyce, for instance, or Woolf's To the Lighthouse, God help us all, a challenge to the reader. And let's face it. Only critics like, or claim to like, a difficult book. Parade's End has never been a best seller; it has never been a modest seller. But behind the challenge is a heroic life given to us fearlessly, without irony or cynicism; a story that simultaneously beats on us and disintegrates before our eyes; and, built accretively, below our consciouness until the final novel, the tapestry of all the dross and glory of our own lives--all this the result in large part, no doubt, of these very modernist devices (while Lighthouse shows us that modernism can be an empty stage too). Tietjens stands with Adam Bede as one of the most memorable and noble characters in English literature. We care about him, which is exactly why the modernist style maddens us here--we need to know what happens to him, to be rushed to the finish. But Ford will not let us. We have to be pulled deep into Tietjens, to experience as our own all of his humiliations, to hold hard and unbending with him in intuitive dignity against the moral folly of others and the emptiness through which they are hurtled. Toward the end our reading slows. He is become our strength, our safe harbor; we cannot let him go. I know of no more powerful multi-volume work after Proust, not Musil, Powell, Durrell, etc., than Ford's Parades's End.

34 of 34 people found the following review helpful:

5.0 out of 5 stars This Book is Obscure For No Good Reason., February 3, 2000

By 

David Liam Moran - See all my reviews

This review is from: Parade's End (Everyman's Library) (Hardcover)

One of the greatest books EVER written in the English language. Period. (Well, actually, it's four books, but they don't publish them separately anymore.) FMF is a modernist genius in the order of a Faulkner or a Woolf, with a beautiful style, incredibly human characters, and a mind-boggling knowledge of both the human heart and the physical world. FMF seems to be as quasi-omniscient as his noble last Tory, the main character, Christopher Tietjens. Don't get me wrong, I'm not trying to say that it's an easy book. Parade's End not a potboiler to read at the beach while you're getting a tan and sipping margaritas. It is a book that challenges the reader to let go of expectation and any hope of conventional structure, and to allow FMF's unique storytelling to settle into your gut slowly. It is a moral novel that doesn't moralize. A book about what it is to be good, to be a human being. FMF's beautiful style is even exceeded by his love for humanity and generosity of spirit. The sheer uncynicalness of the book--especially in this hollow, cynical age--is like a balm on this reader's eyes. This is one of those books, like Sound & The Fury, like Ulysses, like Pride & Prejudice, like Great Expectations, that EVERYONE should read.

36 of 38 people found the following review helpful:

5.0 out of 5 stars A tragedy of change, well told, January 16, 2001

By 

Robert H. Nunnally Jr. "gurdonark" (Allen, TX United States) - See all my reviews
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This review is from: Parade's End (Everyman's Library) (Hardcover)

Ford Madox Ford wrote prolifically, with a repertoire which experimented with style, character and narrative across a variety of settings and subject matters. Ford's Parade's End is among the very best of his works. The centerpiece, Christopher Tietjens, seems on the surface to represent a now-commonplace theme in English literature--the "last English gentleman" metaphorically swept away by modernity in the aftermath of the First World War. The first of this set of novels, "Some Do Not", features an opening passage which is laced with brilliant satire, crystal-clear character development, and a style which is utterly accessible and utterly enchanting. Through the rest of this novel, and well into the next volume, Ford seems to be telling a straightforward "passing of the noble old things" story. But Ford Madox Ford is rarely so straightforward, and these novels are no exception. What seems to begin as a mere bemoaning of a passing age turns into a demonstration of the inevitability, and even the desirability of its passing. Although Ford creates a perfect foil to Tietjens to apparently illustrate the vulgarity and superficiality of the modern age, things are not so simple. Tietjens views his world as irreparably fading, but Ford understands that Tietjens' world may never have existed at all. Galsworthy's Forsyte Saga and CP Snow's Strangers and Brothers novel cycle both try to show the passing of "old England" and the marching in of modernity. Neither Snow nor Galsworthy, though each is wonderful, does as much with narrative style as Ford does here. Ford's novels seem to take a simpler approach to the topic by creating Tietjens, the representative of the "old order", and his wife Sylvia, the representative of the "new", but by the time that the plot is worked out, the reader comes to understand that Ford has created a hall of mirrors and metaphors, and nothing is as simple as it seems.

This is one of the great must-reads of 20th C. English literature. It's a shame that it's not required Brit lit reading in every college survey.