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'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
--This text refers to an alternate
Paperback
edition.
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Consisting of four novels - SOME DO NOT..., NO MORE PARADES, A MAN COULD STAND UP and THE LAST POST - PARADE'S END is the story of Christopher Tietjens and his progress from the secure world of Edwardian England into the First World War and beyond. Tietjens embodies the values of that ordered, predictable, hierarchic society of pre-1914. Contrasted with him and portrayed with equal clarity and depth is his wife Sylvia--beautiful, arrogant, reckless--a symbol of the new times. Their conflict, the chronicle of a family and of an era, makes PARADE'S END both a gripping study of character and a work of amazing subtlety and depth.
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First Sentence
THE two YOUNG men - they were of the English public official class - sat in the perfectly appointed railway carriage. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
THE two YOUNG men - they were of the English public official class - sat in the perfectly appointed railway carriage. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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38 of 39 people found the following review helpful
Format:Paperback
Until quite recently I was barely aware of Ford Madox Ford. When people list the great writers of the early 20th Century his name usually merits only a footnote. However, a short article in a national newspaper appraising "The Good Soldier" as one of the great English novels prompted me to read it. And great it is.
That led me onto this weighty quartet, which has lived with me for the last couple of months. And it confirms my suspicions that Ford is indeed one of our greatest writers, whether he is currently fashionable or no.
One of my first reactions was that - notwithstanding to the publisher's blurbs and cover illustrations - this is NOT a novel "about" the First World War. Yes, the war is an important theme, but it is by no means the only one. In fact the military action, such as it is, features only in the third of the four novels making up the sequence.
No, this book belongs in the pantheon of the great "social" novels - it stands up extremely well against Galsworthy, Evelyn Waugh, Virginia Woolf, Anthony Powell, James Joyce, F. Scott Fitzgerald and even Marcel Proust, who are Ford's true contemporaries. Indeed, it shares with those writers' works an experimental approach to exploring characters' psychological motivations and thought processes that was so characteristic of the 1920s "Modernist" movement. Rarely has a writer captured so well the way in which peoples' minds REALLY work - with confusion, doubt and sudden impulsive decision galloping along in rapid succession. Ford has a rare gift for bathos - broad comedy and real human tragedy can inhabit the same page in a way which can be unsettling, but always rings true.
This is very much a novel of its time - and especially - social milieu. Almost all the main characters are members of the English upper-middle classes, and the book charts mercilessly the unravelling of their once-secure world, as Britain shifts into the modern, post-Victorian era.
Structurally, it is equally impressive. Ford has a breathtaking ability to "time-shift" back-and-forth without ever losing the reader's attention; each chapter starts off with a major leap forward from the one before, so that we are initially unsure of what has happened in the meantime. Then, via a series of "flashbacks" and subtle conversations, the missing jigsaw pieces are slotted into place and the picture becomes clear.
Interestingly, almost every scene consists of dialogue, with one, two and occasionally three or four characters interacting in a single location - it is almost as if Ford had one eye on a possible stage dramatisation of the story. As such, it would - in the hands of the right screenwriter and director - make a superb TV adaptation. We've had "A Dance To The Music Of Time" and "Brideshead", so come on BBC/Channel Four - why not?
You'll have gathered by now that I love this book. It may not be to everyone's taste - Ford's use of language can seem slightly odd to modern ears, for example - but if you enjoy a book you can "live in" for an extended period, I urge you to give it a try.
That led me onto this weighty quartet, which has lived with me for the last couple of months. And it confirms my suspicions that Ford is indeed one of our greatest writers, whether he is currently fashionable or no.
One of my first reactions was that - notwithstanding to the publisher's blurbs and cover illustrations - this is NOT a novel "about" the First World War. Yes, the war is an important theme, but it is by no means the only one. In fact the military action, such as it is, features only in the third of the four novels making up the sequence.
No, this book belongs in the pantheon of the great "social" novels - it stands up extremely well against Galsworthy, Evelyn Waugh, Virginia Woolf, Anthony Powell, James Joyce, F. Scott Fitzgerald and even Marcel Proust, who are Ford's true contemporaries. Indeed, it shares with those writers' works an experimental approach to exploring characters' psychological motivations and thought processes that was so characteristic of the 1920s "Modernist" movement. Rarely has a writer captured so well the way in which peoples' minds REALLY work - with confusion, doubt and sudden impulsive decision galloping along in rapid succession. Ford has a rare gift for bathos - broad comedy and real human tragedy can inhabit the same page in a way which can be unsettling, but always rings true.
This is very much a novel of its time - and especially - social milieu. Almost all the main characters are members of the English upper-middle classes, and the book charts mercilessly the unravelling of their once-secure world, as Britain shifts into the modern, post-Victorian era.
Structurally, it is equally impressive. Ford has a breathtaking ability to "time-shift" back-and-forth without ever losing the reader's attention; each chapter starts off with a major leap forward from the one before, so that we are initially unsure of what has happened in the meantime. Then, via a series of "flashbacks" and subtle conversations, the missing jigsaw pieces are slotted into place and the picture becomes clear.
Interestingly, almost every scene consists of dialogue, with one, two and occasionally three or four characters interacting in a single location - it is almost as if Ford had one eye on a possible stage dramatisation of the story. As such, it would - in the hands of the right screenwriter and director - make a superb TV adaptation. We've had "A Dance To The Music Of Time" and "Brideshead", so come on BBC/Channel Four - why not?
You'll have gathered by now that I love this book. It may not be to everyone's taste - Ford's use of language can seem slightly odd to modern ears, for example - but if you enjoy a book you can "live in" for an extended period, I urge you to give it a try.
18 of 19 people found the following review helpful
Format:Paperback
I've never understood why this isn't regarded as one of the all time classics of English literature. Perhaps it's too long to have been widely read. But with novels about the First World War back in vogue it could be time for a reappraisal.
The plot: as a story of a changing society it is very much a novel of today - and the First World War never seems far from the media, school curriculum and popular imagination. The characters: take your pick from an array of complex, troubled humanity - is Sylvia Tietjens the most purely malevolent women to have taken shape on the printed page? The style: a rich and complex use of language, time shifts and scenic planning that creates an endlessly subtle evocation of time, place and character.
For me it is this style that I find most utterly compelling about the book: as rich a reading experience as you will ever find.
The plot: as a story of a changing society it is very much a novel of today - and the First World War never seems far from the media, school curriculum and popular imagination. The characters: take your pick from an array of complex, troubled humanity - is Sylvia Tietjens the most purely malevolent women to have taken shape on the printed page? The style: a rich and complex use of language, time shifts and scenic planning that creates an endlessly subtle evocation of time, place and character.
For me it is this style that I find most utterly compelling about the book: as rich a reading experience as you will ever find.
20 of 22 people found the following review helpful
Format:Paperback
I am not a great reader, failing to finish most of the books I start. When I do finish something, it is because it has compelled me to do so. Parade's End has this effect on me in a way that only authors like Homer and Tolstoy have done before. I have barely even heard Ford's name mentioned, let alone this novel, so this is really one to read and get people talking about.
The story carried across the tetralogy is, in its essence, simple. An heroic figure (a Sophoclean hero, in that his integrity is more precious to him than the ostensible success of his life) is ruined by the effects of a poisonous wife and the First World War, in which he serves at the front.
Ford advances far beyond the narrative into scathing social observation and critique. His literary style alone is breathtaking. The war writing is both harrowing and historically enlightening.
If you like your novels serious, this is for you.
The story carried across the tetralogy is, in its essence, simple. An heroic figure (a Sophoclean hero, in that his integrity is more precious to him than the ostensible success of his life) is ruined by the effects of a poisonous wife and the First World War, in which he serves at the front.
Ford advances far beyond the narrative into scathing social observation and critique. His literary style alone is breathtaking. The war writing is both harrowing and historically enlightening.
If you like your novels serious, this is for you.
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Most Recent Customer Reviews
Alittle tedious perhaps?
This much-praised saga rather disappointed me. There was not one single character whom I liked and I became totally fed up with the lot of them and with the snobbish out-dated... Read more
Published 14 months ago by J. Miller
The greatest English novel of the 20th century
Parade's End remains the most unknown, underread and yet greatest English novel of the 20th century. Only Proust's masterpiece can rival it in world literature of its time. Read more
Published on 11 Jun 2009 by Mr. Kevin Wilkins
One of the greatest stories ever
I first came across Ford Madox Ford only last year while reading the biography of George Orwell by Gordon Bowker in which he noted that Orwell loved the writtings of Zola and Ford,... Read more
Published on 15 Feb 2009 by Ronald Fraser
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