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Parade's End: Volume II
No More Parades: A Novel
Edited by Joseph Wiesenfarth
10% off all versions
Categories: 20th Century, War writings
Imprint: Carcanet Fiction
Publisher: Carcanet Press
Paperback (426 pages)
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The general said that that afternoon Tietjens would receive a movement order. He said stiffly that he must not regard this new movement as a disgrace. It was promotion. He, Major-General Campion, was requesting the colonel commanding the depot to inscribe the highest possible testimonial in his, Tietjens', small-book. He, Tietjens, had exhibited the most extraordinary talent for finding solutions for difficult problems. The colonel was to write that! ...
"Good God. I am being sent up the line. He's sending me to Perry's Army... That's certain death!"
‘No more Hope, no more Glory, no more parades for you and me any more. Nor for the country . . . Nor for the world, I dare say . . .’, says Christopher Tietjens to a war-damaged fellow officer, under fire on the Western Front. No More Parades continues Parade’s End from Tietjens’ return to the Front in 1917. Ford's searing account of the war is unforgettable: supplies are inadequate, orders confused; men die among the ‘endless muddles; endless follies’. Death replaces love; Tietjens’ betrayal by his wife Sylvia mirrors the violence and dishonour of the war.
No More Parades includes:
-- the first reliable text, based on the hand-corrected typescript and first editions
-- a major critical introduction by Joseph Wiesenfarth, Professor Emeritus of English at the University of Wisconsin-Madison and author of Ford Madox Ford and the Regiment of Women
-- an account of the novel’s composition and reception
-- annotations and a glossary explaining historical references, military terms, literary and topical allusions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
Cover painting: John Nash, Oppy Wood, 1917. Evening. 1918. By permission of the Imperial War Museum. Cover design by StephenRaw.com.
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.'
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