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Ladies Whose Bright Eyes
Edited by C.H. Sisson
ISBN: 978 0 856357 54 1
Categories: 20th Century, British
Imprint: Carcanet Fiction
Published: August 1996
220 x 140 x 21 mm
Publisher: Carcanet Press
‘It occurred to me to wonder what would really happen to a modern man thrown back to the Middle Ages,’ Ford Madox Ford said after reading Mark Twain’s A Connecticut Yankee in King Arthur’s Court. The fruit of this meditation is Ladies Whose Bright Eyes: a romance, first published in 1911 and then thoroughly revised and re-published in 1935. Ford draws wonderful characters and puts them through revealing and amusing paces. Mr Sorrel is a man given to romance but also with conventional ambitions, trying to make modern weapons in an ancient world and make himself powerful. But Ford is more interested in character and period than in technology, and when the possibilities of romance present themselves, Mr Sorrel makes the most of them. He is well on his way to acclimatizing himself and becoming a proper knight when, as suddenly as he departed, he returns to the twentieth century. Science fiction has seldom been more charming or beguiling than it is here.
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 C.H. Sisson `His poems move in service of the loved landscapes of England and France; they sing (and growl) in love of argument, in love of seeing through, in love of the firm descriptions of moral self-disgust; they move in love of the old lost life by which the new life is condemned.'
Donald Hall, New York Times Book Review 'I think he is worth a place on the short shelf reserved for the finest twentieth-century poets, with Eliot and Rilke and MacDiarmid.'
Robert Nye, the Scotsman
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