By R. Hawkes
Ford Madox Ford is an incredible modernist author, but lots of his works don't agree to our assumptions approximately modernism. analyzing ways that he, along different 'misfit moderns', undermines 'stabilities' we predict from novels and memoirs, this e-book poses questions on the character of narrative and the excellence among modernism and modernity.
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Additional resources for Ford Madox Ford and the Misfit Moderns: Edwardian Fiction and the First World War
In a manner similar to that witnessed in A Call, Bennett’s narrator’s remarks about characters are frequently founded on the judgements 40 Ford Madox Ford and the Misfit Moderns of the local community. For example, Constance and Sophia’s father is first introduced as a figure of unreserved approval: ‘No business establishment could possibly be more respected than that of Mr Baines was respected. ” He deserved his reputation’ (OWT 40). 41 Kurt Koenigsberger draws attention to a remark that comes later, on the occasion of John Baines’ death, that: ‘Mid-Victorian England lay on that mahogany bed’ (OWT 112).
The problem, once again, for Bennett is in maintaining both sisters as dual protagonists of the novel rather than allowing one or both of them to collapse into an allegorical rather than representative role. Critics have often noted the meticulousness with which Bennett ‘balances’ the stories of Constance and Sophia during their time apart. 46 Indeed, he remarks that: ‘The subject is, after all, unwieldy: two lives separated in space and extended over a long period of time’ (174). 42 Ford Madox Ford and the Misfit Moderns The instability caused by Bennett’s decision to ‘go one better’ than Maupassant may have been an unintentional side-effect of the creation of Sophia ‘out of bravado’.
11 Woolf’s retort is to claim, on the contrary, that it is Bennett and his fellow Edwardians who cannot create characters. In order to do so she imagines a character of her own, ‘Mrs Brown’, in a railway carriage travelling from Richmond to Waterloo and asks how Wells, Galsworthy, and Bennett would go about describing her. Bennett, she suggests, ‘alone of the Edwardians, would keep his eyes in the carriage’ and would ‘observe every detail with immense care’: He would notice the advertisements; the pictures of Swanage and Portsmouth; the way in which the cushion bulged between the buttons; how Mrs Brown wore a brooch which had cost three-and-ten at Whitworth’s bazaar; and had mended both gloves – indeed the thumb of the left-hand glove had been replaced.
Ford Madox Ford and the Misfit Moderns: Edwardian Fiction and the First World War by R. Hawkes