Includes bibliographical references and index.

Front Matter -- Contents -- Introduction / Rossitsa Terzieva-Artemis -- The Good Soldier: Tragic, Comic, Ironic / Joseph Wiesenfarth -- Tory-Papists and Ford’s The Good Soldier / Timothy Sutton -- The Definition of Modernity in The Good Soldier / Edward Lobb -- The Silences of Modernism in The Good Soldier / Dean Bowers -- A Tale of Two Babies – One Dead, the Other Powerless to Be Born: Ambivalent Beginnings in Ford Madox Ford’s The Good Soldier / Aimee L. Pozorski -- The Motive for Metaphor: The Words of a Sentimentalist in The Good Soldier / J. Fitzpatrick Smith -- Rewriting Trauma: A Study of Ford Madox Ford’s The Good Soldier as Modernist Chronicle / Asunción López-Varela Azcárate -- “Nearly as Bright as in Provençe!”: An Episode of Dowell’s Narrative Passion / Lucie Boukalova -- Not Just Another Perplexity / Gabrielle Moyer -- “Like Chasing a Scrap of Paper”: Hysterical Detection in The Good Soldier / Allan Pero -- “Of the Question of the Sex-Instinct I Know Very Little”: The Good Soldier and the Discourse of Indecency / Chris Forster -- “A Family Romance”: Oedipal Melancholia and Masochism in The Good Soldier / Marc Ouellette.

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For the centenary of Ford Madox Ford’s The Good Soldier (1915), this volume originally re-examines some well-known issues surrounding the text and its “mad about writing” author: the Conrad-Ford friendship and literary collaboration; Modernist agenda(s) and Impressionist techniques; genre innovations and philosophical questions. The dialogue between established and young Ford scholars produces a challenging kaleidoscope of insights into the work of this controversial English writer and his perennial novel. Contributors are: Asunción López-Varela Azcárate, Marc Ouellette, Lucie Boukalova, Allan Pero, Dean Bowers, Aimee L. Pozorski, Chris Forster, J. Fitzpatrick Smith, Edward Lobb, Timothy Sutton, Gabrielle Moyer, Joseph Wiesenfarth.

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