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in four volumes
Edited by Max Saunders, Joseph Wiesenfarth, Sara Haslam, Paul Skinner
RRP: GBP£ 75.80
You Save: GBP£ 7.58
Price: GBP£ 68.22
ISBN: 978 1 847771 96 4
Categories: 20th Century, War writings
Imprint: Carcanet Fiction
Published: July 2011
215 x 135 x 84 mm
Publisher: Carcanet Press
For the first time, the four novels that make up Ford Madox Ford’s First World War masterpiece Parade’s End are published in fully annotated editions, with authoritative corrected texts. Each novel is edited by a leading Ford expert. Purchase all four volumes together and save over £25 on the cover price.
This definitive four-volume edition of the 'Tietjens saga' includes:
- the first reliable text, based on the manuscript and first editions
- major critical introductions by the volume editors, all experts on For
- accounts of the novel’s composition and reception
- a reconstruction of Ford’s original ending, published complete for the first time
- annotations explaining historical references, military terms, literary and topical allusions
- a full textual apparatus including transcriptions of significant deletions and revisions
- a bibliography of further reading.
Parade's End Volume I: Some Do Not . . . edited by Max Saunders
Parade's End Volume II: No More Parades edited by Joseph Wiesenfarth
Parade's End Volume III: A Man Could Stand Up - edited by Sara Haslam
Parade's End Volume IV: Last Post edited by Paul Skinner
Praise for Ford Madox Ford 'what Ford conveys above all is less his particular preference than his radical passion for the novel as an instrument and what can be done with it.'
C.H. Sisson 'It displays Ford's dedication to his art; it demonstrates, also, the possibilities of English prose in the hands of a master.'
Peter Ackroyd, The Sunday Times 'The Rash Act ought to be bought and read by all interested in the novel as an art form... The action takes place in the French South which Ford loved, but man no longer sustains the tradition of myth and history which that region once represented... Here in The Rash Act we have the death of morality and responsibility - a forbidding theme, but, in the paradox of art, it is made to serve a tapestry of rich colour and galloping vivacity.'
Anthony Burgess, Observer 'No Enemy is Ford Madox Ford's little-known First World War novel, musing and reflective, published for the first time in Britain by Carcanet and ably edited by Paul Skinner. Congratulations to them both.'
Alan Judd, Sunday Telegraph, Sunday 30th June 2002 'Of the various demands... that he show us the way in which a society works, that he show an understanding of the human heart, that he create characters in 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 craftmanship, there is not one, it seems to me, that Ford does not completely satisfy.'
W. H. Auden
'Ford Madox Ford's Parad's End, arguably the most sophisticated British fiction to come out of that war. Carcanet's reissue of the first volume, Some Do Not (£18.95), is the first reliable text, reconstructing Ford's dramatic original ending. Brilliantly edited by Max Saunders and now to be filmed (scripted by Tom Stoppard), it deserves to be and will be better known.'
Alan Judd, Books of the Year 2010, The Spectator.'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 Praise for Sara Haslam 'One of the best books I have ever read about Englishness.'
AS Byatt, The Guardian
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