Hall, meanwhile, invests complexity in a character who could seem a cruel and self-involved narcissist. He becomes attracted to a naive, earnest young suffragette, Valentine Wallop Adalaide Clemens , who challenges both his fidelity and his Tory principles. And Europe breaks out in The Great War, which Christopher sees as not just a military threat, but a threat against the centuries-old, pastoral aristocratic order that he represents. Sometimes, especially in the fraught scenes between Cumberbatch and Hall, it balances sympathy and critique.
Other times it lurches between them, with jarring shifts in tone from melodrama to broad, even slapstick satire. A confrontation between suffragist protesters and nobles on a golf course in the first episode could have been in an Edwardian episode of Benny Hill. It gets confusing; it gets boring in stretches. Ever since reading Constellation of Genius by Kevin Jackson I was fascinated by the fact that Ford Madox Ford was, to lift the phrase from The L-Word , a major hub; I even considered rereading the book to draft a graph showing all of his intellectual connections.
I knew what to expect of a modernist novel - I like the period - but the sheer number of such remarks coming from people who had the literacy and the stamina to go through it was intimidating. Another thing the reviews and the introduction pointed out was that the last part of the novel is markedly weaker than the previous three it was deemed so by the critics, even left out in some editions , but my experience was different. Immense miles and miles of anguish in darkened minds. That remained. Men might stand up on hill, but the mental torture could not be expelled.
It's that they won't let us alone. Not one of us! If they'd let us alone we could fight. But never No one!
It's not only the beastly papers of the battalion, though I'm no good with papers. Never was and never shall be But it's the people at home. One's own people. God help us, you'd think that when a poor devil was in the trenches they'd let him alone Damn it: I've had solicitors' letters about family quarrels when I was in hospital. Imagine that! Imagine it! I don't mean tradesmen's dunnings.
But one's own people. I haven't even got a bad wife as McKechnie has and they say you have. The message, to me, seems to be against the simple interpretation that the British society changed as a result of WWI; the end of "Old England" was not due to the war. Rather, the war gave people — chaotic, evil, selfish people - the chance to shatter whatever harmony was left in the world the novel is narrated from the PoVs of "Quality", mostly. The post WWI order is one of modernist chaos, uncertainty, and despair, in which the protagonist, Christopher Tietjens, strives to function with his new family.
Christopher is a Job-like figure, whose socialite wife turns his life into a nightmare, probably in order to exert some kind of emotional power over him, and who is routinely betrayed by everyone, and let down by debtors. Gentlemen, remarks Tietjens bitterly, dwell in a celestial sphere untainted by financial affairs: Gentlemen don't earn money. Gentlemen, as a matter of fact, don't do anything. They exist. Perfuming the air like Madonna lilies. Money comes into them as air through petals and foliage. Thus the world is made better and brighter. And, of course, thus political life can be kept clean!
So you can't make money. The unavoidable paternalism towards lower classes: It was to him a certain satisfaction that It was akin to the feeling that made him regard cruelty to an animal as a more loathsome crime than cruelty to a human being, other than a child. It is Christopher's and Valerie's sense of responsibility which makes the main love scene of the novel look like this: We never finished a sentence. Yet it was a passionate scene.
So I touched the brim of my cap and said: So long! Or she I don't remember. I remember the thoughts I thought and the thoughts I gave her credit for thinking. But perhaps she did not think them. There is no knowing. Characterisation is formidable. Making Christopher relatable is short of a miracle.
The only thing the two women have in common is their good physical shape — sport for Sylvia being a way of maintaining her stunning figure and spending more time around men, for Valerie — a part of her moral, hygienic, modern education. She uses her sexuality to dominate, destroy, use men: she ran the whole gamut of 'turnings down. But they knew in their hearts that calamity came from the fact that she hadn't deigned to look into their eyes. View all 11 comments. Feb 01, Joselito Honestly and Brilliantly rated it it was ok. Reading this consisting of four books: "Some Do Not It is not unreadable or incomprehensible.
It's in English, originally in English can't blame any faulty translation , and the characters are even English. But they talk differently. They act differently. Their motivations are hard to grasp. Like they're in a dream, their movements come in hazy sequences. The plot Reading this consisting of four books: "Some Do Not The plot is gettable but not unforgettable: Christopher Tientjens, maybe conceived by Ford Madox Ford while looking at the mirror, never described as handsome FMF was ugly but only big, strong, clumsy and gray, is married to the beautiful Sylvia, a flirt who ran away with another man, they have a son but it is not certain if Christopher is really the father, fed up with her paramour Sylvia writes Christopher a note saying she wants to go back to him and he accepts her, no questions asked, then there's Valentine described as having big feet somewhere she's in love with Christopher who agrees when he asks her to be his mistress but didn't even kiss her and instead just goes to the trenches to fight world war one, hoping at one point to die, he's rich but renounces wealth, intelligent but does stupid things, Sylvia, finding him too perfect, wants to destroy him, ah what the heck!
I found no thrill with the story. The characters did not come alive for me. I started to worry that maybe something is now wrong with my brain after reading too much and playing chess too much, so I checked some of the reviews and see several praising the novel without even reading all four books, like they tasted one dish in a food buffet and announced all the rest as outstanding really? Then why not finish the rest? One said he started reading it one day, but never said he finished reading it another day. So if he's alive, in front of me, I may be yelling right now to him, asking him to answer the question if he had actually finished reading all four books and not if the novel is great as I am not asking him that question.
View all 9 comments. Nov 22, Kristin rated it it was amazing. Amazing insight into British society and the English mind around WW1. The time shifts are initially confusing, but when one lets yourself go I think the confusi Amazing insight into British society and the English mind around WW1. The time shifts are initially confusing, but when one lets yourself go I think the confusion the reader feels is intended, it mimics the confusion the characters feel , one discovers great comic moments the breakfast scene at the Duchemins in particular , a beautiful love story and a very sympathetic hero of the stiff upper lip variety, and one of the most despicable yet fascinating characters you're likely to encounter in literature.
If you're not sure that you can commit to the full book, read Some Do Not This is a self-contained book in it's own right--if you finish it wanting to know what happens to the characters, then by all means read on. But it's in my mind easily the strongest of the four books--most comic and best use of modernist techniques, namely the time shift which Ford coined. Not an easy novel to read not by any means.
This is the story of Christopher Tietjens a man quite out of step with the times and with those closest to him. An interesting character in his own right although quite overshadowed by his manipulative and spoilt wife Sylvia. Found that the novel did lag in places however the descriptions of life in the trenches and the physical and psychological impact of the Great War to be compulsive reading. The characters were constrained and at times understated Not an easy novel to read not by any means. The characters were constrained and at times understated but that did add to their power on the page.
One of those novels that you find yourself thinking about after the last page is turned. View all 6 comments. Jul 14, Mark Hinton rated it it was amazing. Knowing just enough about everything to get myself into trouble, I chose to take Victorian Literature. Romantic poetry did not sound like something a Montana kid grown up on Hemingway would want to read. Only much later, years and states away, would I discover how wrong I was…. The Victorian sensibility that pervades Arnold and Browning — the interest in the ordinary and common day, the moral purposefulness, the unmooring clash with science, the search for the Victorian ideal — seemed cloyingly myopic and dark.
I admired much but was never able to get my sea legs.
By then, I knew a little about Ford: his relationship with Conrad, his literary influence, his reputation for untruth though hardly a vice in a writer , his bad relationship with Hemingway. I knew of, but had not read, The Good Soldier, his most celebrated and read work. I put the book on a shelf and carried it for a few moves. Through years of reading the once neglected Romantics, through expanding my familiarity with Irish poetry beyond Yeats.
Paul I picked up the big book and began to read. Parades End has been called the last Victorian novel. And I suppose it is. So much that is Victorian is in this book, and yet… there is something of the lost generation in here also. It is in my mind a transitional novel, the last hurrah of the Victorian and a first tentative peek at the modern. His is the anti-Hemingway style. His sentences and paragraphs go on for pages… and yet, I found myself enthralled in the same way that James enthralls me. So exotic does their language usage seem that I feel I am reading another tongue altogether.
A language at once more ornate and expressive and beautiful than I could even dare to imagine — the term baroque comes to mind although unlike baroque music, James and Ford are always satisfying. His wife is unfaithful to him, he is betrayed by friends and colleagues, and the modern, post-war world is changing everything he once thought he knew. Why Ford has fallen so out of favor, and this novel in particular has been all but forgotten, is one of those peculiarities of taste and time.
View 1 comment. I found this book to be a fantastic slog. It had been so difficult for me to read, in fact, that I found myself trying to skim, and resisting, just barely. I suppose part of the problem must have been the unmatched expectations I've had for this humongous doorstopper.
Parade's End is a five-part BBC/HBO/VRT television serial adapted from the tetralogy of eponymous novels () by Ford Madox Ford. It premiered on BBC. Parade's End () is a tetralogy of novels by the British novelist and poet Ford Madox Ford (–). The novels chronicle the life of a member of.
I've heard of it as 'an epic tale of WWI'. But in reality, it was more involved with two people trying to outdo each other in the amount of suffering they could cause. I found the endless digging in the machinations and idiotic move I found this book to be a fantastic slog. I found the endless digging in the machinations and idiotic moves. I didn't particularly want to read a book about marital machinations and moves, I wanted to read a book about WWI. Too, there is in me still the sense that I could never envision the main characters, Tietjens and his wife, Sylvia, as in any way real.
They do what they do from reasons which, to me, are inexplicable and incomprehensible, and I don't think that's just because they're turn-of-the-century Brits. Sylvia cheats on her husband and tries to ruin his life and hers with it, since for some reason she would not divorce him, though her Catholicism is less than nominal because she "hates his immoral opinions".
Since I never really encountered an opinion of Tietjens - not to mention a deed - that was immorally appalling, I had a hard time seeing Sylvia do what she was doing for any reason other than the author's strings, pulling at her. The prose is abstruse and difficult to read. I found it almost prohibiting at times. It's full of elliptical sentences and unexplained utterances, and one loses the thread of what people are actually saying, and why, astonishingly quickly.
The novel I should say novels, I read all four does have its good moments. For instance, the scene in which Sylvia discovers that her husband was not, in fact, shamming his memory loss, is almost touching. She is repentant. Why she then proceeds to go on and continue to cause trouble for him, though, I am not sure.
It's yet another enigmatic move, on the part of an utterly enigmatic author, in a completely enigmatic setting. I guess this book was just too much of a riddle wrapped in an enigma for me. I barely finished it, though I am glad I at least did finish. Jun 11, Sarah rated it it was amazing. When it was time to finish the last section of this brilliant book, I bought myself a bottle of sparkling cava to celebrate and cried like a baby.
I took a few more weeks to decide whether or not to read "Last Post". I did, and I see what the rest of the internet means. Christopher Tietjens is absent from the majority of the book. You get far more narration When it was time to finish the last section of this brilliant book, I bought myself a bottle of sparkling cava to celebrate and cried like a baby. You get far more narration from Mark Tietjens who I want to be so so angry at, but It's so difficult to advise whether to read Last Post or not. The end of A Man Could Stand Up is like gloriously and gleefully throwing your frozen heart off the most dramatic cliff-top you can be bothered to imagine because perhaps, perhaps - a man can finally stand up!
I can't really say reading it was anything like reading the first three novels. It added lots about Mark's attitudes towards the war ending. On the other hand - after two weeks, just knowing it was there Do I think it needed to be there? But can you ignore it? Not really??
Argh, eh! Mar 23, Bruce rated it it was amazing. Perhaps his best known and most read novel is The Good Soldier. The plot covers the period from just before, during, and immediately after WW I. He is curmudgeonly though deeply caring, determined to live a life of honor and goodness under trying circumstances. The two middle parts of the narrative provide what is arguably the most vivid description of trench warfare on the Western Front, the details of the conflict being less gratuitous than illustrative of the stresses and personalities that were shaped and formed by that experience.
Overall, the narrative highlights the social changes in the UK during this period, with blurring of class distinctions and the decline in income and prominence of wealthy landed gentry. Ford uses a fascinating variety of narrative styles throughout the work, the most impressive being his own approach to interior monologue. Christopher in particular is strikingly aware but often imperfectly self-aware. Sentence fragments and ellipses abound, and the ambiguities and inconsistencies of personality are beautifully captured.
Themes appear briefly, only to vanish and emerge later in different contexts, and this mastery of leitmotif is effective and often unobtrusive. Frequent allusions within and beyond the novel itself are carefully integrated into the narrative. Despite its almost pages, the book thus remains gripping and engrossing. I am grateful for having discovered this amazing novel, a work that as recently as a few months ago I had not known even existed. Along with such acknowledged modernist masters as James Joyce, Marcel Proust, and Virginia Woolf, Ford Madox Ford recreated the novel into what would be a flourishing during the early and midth century.
View all 3 comments. Sep 09, Ka rated it really liked it Shelves: historical-fiction , classics , wwi. I can't decide whether to give this book 2 stars or 4. Ultimately it does succeed as a powerful story of the effects of the Great War on English society. Instead of the sweeping narrative of the typical war novel, FMF takes his story completely inside the characters' heads, looking at society and war in the microcosm, an approach that must be respected. And yet. I did not enjoy reading it. The third book does finally portray a good bit of the misery and danger of the trenches and the front lines I can't decide whether to give this book 2 stars or 4.
The third book does finally portray a good bit of the misery and danger of the trenches and the front lines. The first two books are really more about a love triangle in England during the time of the first war. At all times, the story is narrated through the inner thoughts, relevant or irrelevant, of the 3 main characters.
Often these are overwrought; it is exhausting to read so many sentences ending in exclamation points. It's like a soap opera, in that you can skip forward 30 pages and be confident you'll still be in the same scene. The reader is left to tease out the few narrative points amidst the torrent of banality. I did not read the fourth book, choosing to side with Conrad and others who called it 'a disaster' and who state that FMF never intended it to be published.
A further disadvantage of the extreme interior view FMF gives, of the war and the times, is that context is never developed or revealed. I am not sure whether, for example, I would have perceived the portrayal of the disintegration of classes, had I not already known that WWI was the catalyst for this.
I can't imagine what a reader without prior knowledge of the era and the war specifically would make of it. How often can that be said?! At the same time, there were many times in the miniseries when I thought, 'I sure am glad I read the book and know everything that was meant by that second scene'. I now think, or maybe I always did, that Christopher Tietjens is one of the great literary characters. Jan 30, Beth Bonini rated it really liked it Shelves: classic , historical , mental-health , war , bad-marriage , feminism.
I usually try to stick to a policy of only reviewing novels that I have 'recently' meaning days, or weeks at most read, but I'm going to make an exception in this case. Having loved the BBC production, with Benedict Cumberbatch as protagonist Christopher Tietjens, I wanted to read the novel in order to fill in the gaps and details that I felt I might not have grasped.
Do other people do this? My typical response, after watching a film adapted from a novel, is to want to read the novel. After I usually try to stick to a policy of only reviewing novels that I have 'recently' meaning days, or weeks at most read, but I'm going to make an exception in this case. After spending much of January slogging through this book -- and SLOG it was, despite many wonderful moments and bits of writing -- I realised two things: Tom Stoppard and Benedict Cumberbatch are both geniuses.
If you felt that the television drama was somewhat elliptical, please believe me when I tell you that it is a masterpiece of straightforward narration compared to the novel. And if you thought Tietjens was a maddening, inscrutable character, let me assure you that Cumberbatch -- through his extremely expressive face and noble suffering -- managed to make that character sympathetic even lovable in a way that really doesn't come across in the novel. I don't regret reading this novel, but if you are short of time, do go straight to the BBC production without feeling the slightest bit guilty.
You will also be able to enjoy the sumptuous scenery, costumes and acting. Personal note: I was motivated to write this slight review, or rather recommendation, after reading Stravinsky's Lunch. In discussing Stella Bowen -- Ford's partner, and the inspiration for Valentine Wannop -- I got an interesting insight into Ford as an author and a man. He was no Christopher Tietjens. I had never been able to believe that Tietjens would have sex on a train with a woman he barely knew, no matter how seductive.
I suspect that was more Fordian. Oct 01, Helena Fairfax rated it it was amazing.
This is one of the best books I've ever read. The author evokes the emotions of his characters with unique brilliance, using a stream of conscious style of writing to describe inner dialogue, so that we feel exactly what each character feels, especially at moments of great stress. Not only this, but the characters themselves are infinitely well-drawn and their actions believable, totally sympathetic and consistent throughou This is one of the best books I've ever read.
Not only this, but the characters themselves are infinitely well-drawn and their actions believable, totally sympathetic and consistent throughout. The descriptions of what it was like to serve in the First World War are also vivid and again I think unique in that they describe not just the horror but also the constant organisational effort involved in moving troops about, and sometimes just the sheer boredom of it all. Finally, the descriptions of the English countryside - a vanishing landscape in the early 20th century - are just perfect.
The scene where Christopher Tietjens the hero and Valentine Wannop fall in love whilst riding a horse and cart all night through thick fog was so real for me I wished I could actually be in it. I wish I could write like Ford Madox Ford. That's all I can say. View 2 comments. This novel has touches of genius but is at its core deeply flawed, an example of execution failing to match talent or intent.
There are parts that come alive - in particular, anything involving Sylvia, who is monstrous but also fascinating and even strangely relatable. But the war sections drag and while I understand and appreciate modernist techniques, perhaps I didn't care enough Christopher Tietjens to put the effort into truly focusing on those chapters. The final book feels like it is entir This novel has touches of genius but is at its core deeply flawed, an example of execution failing to match talent or intent. The final book feels like it is entirely separate, both in style and story, and I had to push myself to finish it.
Interesting characters are simply dropped, their fates barely addressed. And while I did find Sylvia fascinating, I was bothered by the fact that the women are all monsters bent on destroying their men or pure, innocent saviors who sacrifice all for the men they love. Quite the most singular book I've ever read. So many times I had absolutely no clue as to what was going on and yet I stuck with it for over pages. Now I see where Graham Greene came from. A masterpiece; an infuriating masterpiece. Shelves: books-you-must-read-before-you , hf-world-war-i , e-books , mtbr-challenge , edwardian , fictionth-century , gutenberg , read , british-literature.
Even if these four novels have been reissued in , after Second World War, the first omnibus version was published by Knopf in It is interesting to find out that I have the same opinion as stated by Graham Greene: "an afterthought which he Ford had not intended to write and later regretted having written. It starts with the Armistice Day and the author describes the feelings of the main characters in a magnificent way.
As consequence, he decides to retreat and decides to live with Valentine, selling antiques as a way of economically survive. And the last one, the worst of this series, does have almost nothing to do with the previous ones. It seems that the author was looking for some kind of redemption or some other feeling which we cannot fully understand. Free download available at eBooks Adelaide. He was devising the ceremonial for the disbanding of a Kitchener battalion.
Well, the end of the show was to be: the adjutant would stand the battalion at ease; the band would play Land of Hope and Glory, and then the adjutant would say: There will be no more parades…. 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… None… Gone… Napoo finny! The latter book was recently in the news, Tom Stoppard having just completed his adaptation for BBC television, the mini-series scheduled to air in This novel reminds me of other great chronicles of individual lives and war, in this case a chronicle of the life of Christopher Tietjens, "the last Tory," a brilliant government statistician from a wealthy land-owning family who is serving in the British Army during World War I. While this is generally considered a "war" novel it is unique in the way Ford has Tietjens' consciousness taking primacy over the war-events like a filter.
Ford constructs a protagonist for whom the war is but one aspect of his life, and not always even the most prominent though he is in the middle of it. The two central novels follow Tietjens in the army in France and Belgium as he ruminates on how to be a better soldier and untangle his strange social life. In a narrative beginning before the war and ending after the armistice, Ford's project is to situate an unimaginable cataclysm within a social, moral and psychological complexity.
A brilliant, sprawling book, unusually combining inventive modernist prose with a mingled nostalgia and hopefulness. I'm still processing what I think of it, but it's an eloquent and poignant exploration of the anxieties of England's gentry, and the genteel poor, in the years surrounding the First World War. I enjoyed this a lot more than I expected! Ford has created a wonderful character in Christopher Tietjens - noble to a fault, stubborn, fiercely smart, stiff and ponderous on the outside and a big teddy bear on the inside.
You love him even when you want to slap him and tell him he's messing it all up. His wife Sylvia is fascinatingly manipulative, and even though she's one of the most genuinely terri I enjoyed this a lot more than I expected! His wife Sylvia is fascinatingly manipulative, and even though she's one of the most genuinely terrible people I've ever read about, you still manage to care for her, too.
Valentine, Tietjens' love interest, is a whipsmart suffragette whose temperament is a far better match for him than Sylvia. Ford does a great job of giving these characters a voice - I particularly enjoyed reading the chapters from Sylvia's perspective.
To everyone else she's a villainous whore - from her own perspective she's a mischief maker, and her schemes are hilariously well-planned. The books do drag at certain points - I had a lot of trouble getting into the second book, because the first was so focused on the will-they-won't-they relationship between Tietjens and Valentine I had some trouble adjusting to the shift in tone.
Ford also has an annoying habit of introducing a character purely for the sake of affecting the plot, then giving us a page life story for this new character when we're never going to see them again. Why yes, Ford, let's hear aaaallllll about the guy who gossiped about Tietjens to his father. His life story is so important to the plot. That being said, the good parts overwhelmingly make up for the bad parts. Tietjens has a wonderful character arc - during the 3rd book I actually started to feel PROUD of him, like "You're finally figuring it all out, Chrissie.
Everything is going to be okay for you. It literally made me feel giddy. Which brings us to the 4th book