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De goede soldaat een verhaal van hartstocht…
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De goede soldaat een verhaal van hartstocht (original 1915; edition 1992)

by Ford Madox Ford

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3,064661,852 (3.8)226
Member:branje
Title:De goede soldaat een verhaal van hartstocht
Authors:Ford Madox Ford
Info:Amsterdam Athenaeum-Polak en Van Gennep 1992
Collections:Your library
Rating:****
Tags:None

Work details

The Good Soldier by Ford Madox Ford (1915)

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    Intimacy by Hanif Kureishi (LynnB, susanbooks)
    susanbooks: Note the first lines of each -- Kureishi does such a cool job playing w/Ford
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    Dismantle the Sun by Jim Snowden (jim.snowden)
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» See also 226 mentions

English (62)  Dutch (2)  Hebrew (1)  Piratical (1)  All languages (66)
Showing 1-5 of 62 (next | show all)
Let the author and you trust each other, each to his job. Don't worry if at the start you ask, "Who is speaking here?" By the end, after all hope is gone and your heart is broken, you'll know. ( )
  Oskar_Matzerath | Aug 17, 2014 |
An impressionistic work of English life right before the outbreak of WWI. Told in a series of flash-backs, it skips around and is nonchronological. Somewhat difficult to read, but worthwhile. You get different views of the "good" soldier and two Americans, each of whom are married. It has twists. What you believe of a character may turn out not to be true. ( )
  JVioland | Jul 14, 2014 |
I think that Ford Madox Ford should have fought the publishers and stuck with his original title, The Saddest Story. It is a much better descriptor of this intense and depressing short novel. This is the story of the twisted lives of two unhappily married couples and the various affairs they involve themselves in. It's narrated by one of the husbands, John Dowell, whose wife Florence has at least two affairs, one with the husband of the other married couple, Edward, who is the title character. Leonora, Edward's wife, is aware of everything going on and trying to control events as much as possible by managing her husband's affairs - both in love and money. John, the narrator, insists that he never knew that his wife was having affairs. He tells the story of Edward and Leonora through a series of flashbacks after Florence and Edward have both committed suicide, Edward several years after Florence.

If the above description was confusing, I'll say I'm just following the layout of Ford's book. The unreliable memories and misunderstanding of events by the narrator and the rambling, out-of-chronological-order retelling make the novel complex and interesting. The writing style is amazing, especially considering this was written in 1915. The characters in this book are all pretty despicable, mostly being either totally passive, like the narrator, or passive aggressive, like Leonora. Usually I can't stand a book where I don't like at least one of the characters, but this book is good enough to overcome that. ( )
  japaul22 | Jul 8, 2014 |
It took me a while to get my head around this novel. Fairly quickly I could see that Ford expects the reader to have definite reservations about the narrator, if not for his protestation that he’d never had any sexual thoughts about any woman, then for the way he has achieved nothing in his life and the way he dismisses Florence’s aunt’s criticism of him being ‘the laziest man in Philadelphia’: ‘I suppose I ought to have done something, but I didn’t see any call to do it. Why does one do things?’. I still, though, wasn’t sure how Ford was expecting the reader to react more widely. This is perhaps, partly, from the way he structures the story, having Dowell imagine he’s recounting what happened to someone sympathetic sitting opposite him, hence the obliqueness of the narrative. For example, Ashburnham’s affair with Florence is mentioned for the first time only in passing. Then there’s way Dowell describes the people in the circle he inhabits as being ‘good people’ even though it transpires that this not necessarily the case, thereby impugning Ashburnham, who is, I imagine the eponymous ‘good soldier’. A quarter of the way through the book, then, I find I have a narrator whose point of view I distrust and a set of circumstances that is only revealing itself gradually.

With the novel being written I imagine this time a hundred years ago, it has to be said it hasn’t dated too badly. Yes, the expressions of the day, the ‘By Jove’s’ don’t help but they don’t dominate. It’s not worn time as well as Fitzgerald’s ‘The Great Gatsby’ written a decade or so later, but the actual wording stand up well enough even if the actual focus on wealthy people seems very much to be from a bygone era, with Dowell’s descriptions of oxen and peasants in fields while he sits in a comfortable train and laughs at a cow being tossed upside-down into a stream by another cow. While today there is probably an even bigger divide between the rich and poor, in the Western world there isn’t still that sense of everyone having their rigid place in society.

Halfway through the novel I felt less certain about the narrator as Ford continued to drip-feed the reader with what had happened. It seems as if Ford gives his narrator quite a few general observations to challenge the reader. For example, when Dowell is speculating on why Florence takes her prussic acid, he says ‘I guess it is vanity that makes most of us keep straight, if we do keep straight, in this world’. This comes after a couple of pages examining the nature of passion with ideas that certainly transcend the time when the novel was written.

In fact, by the time I’d got to the end of the book, I found that Ford was really examining the nature of monogamy and society, not to mention Catholicism. I could also see why his first choice of title for the novel had been ‘The Saddest Story’ as it certainly does become deeply melancholic – ‘society can only exist if the normal, if the virtuous and the slightly deceitful flourish, and if the passionate, the headstrong, and the too-truthful and condemned to suicide and madness . . .Yes, society must go on; it must breed like rabbits. That is what we are here for. But then, I don’t like society – much’. I think this quotation captures both the impression Ford wants us to take of society and the dismal tone that comes to pervade the novel. ( )
  evening | Jun 9, 2014 |
Reread this for a book group, which had a very lively discussion about the unlikability of the characters and the confusing character of the narrator and style of narration. The narrator is so passive he almost defines the term. And he is recalling events in an almost stream of consciousness manner, with constant time shifts as more and more is revealed. Or is it? His lack of insight is what drives the narrative as the reader is forced to construct what really happens from inferences and surmises, mostly revealed through other characters' comments as the narrator recalls and reports them. A fascinating look at early experimentation in narratorial technique by one of the outstanding authors of the time, a man who knew all the major writers and encouraged them in their (better known) work. He was especially close to Joseph Conrad, and the similarities in style are fascinating. ( )
  kishields | Jun 6, 2014 |
Showing 1-5 of 62 (next | show all)
Ford Madox Ford's The Good Soldier seems to me to possess precisely those virtues to which the novel narrated in the first-person is best suited...A useful comparison: The Good Soldier very much brings to mind the novels of Kazuo Ishiguro.
 

» Add other authors (41 possible)

Author nameRoleType of authorWork?Status
Ford Madox Fordprimary authorall editionsconfirmed
Henze, HeleneTranslatorsecondary authorsome editionsconfirmed
Kenner, HughIntroductionsecondary authorsome editionsconfirmed
Lorch, FritzTranslatorsecondary authorsome editionsconfirmed
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Beati Immaculati - Psalm 119:1
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This is the saddest story I have ever heard.
Quotations
I have, I am aware, told this story in a very rambling way so that it may be difficult for anyone to find his path through what may be a sort of maze. I cannot help it. I have stuck to my idea of being in a country cottage with a silent listener, hearing between the gusts of the wind and amidst the noises of the distant sea the story as it comes. And, when one discusses an affair--a long, sad affair--one goes back, one goes forward. One remembers points that one has forgotten and one explains them all the more minutely since one recognizes that one has forgotten to mention them in their proper places and that one may have given, by omitting them, a false impression. I console myself with thinking that this is a real story and that, after all, real stories are probably told best in the way a person telling a story would tell them. They will then seem most real.
In all matrimonial associations there is, I believe, one constant factor - a desire to deceive the person with whom one lives as to some weak spot in one's character or in one's career. For it is intolerable to live constantly with one human being who perceives one's small meannesses.
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Amazon.com Amazon.com Review (ISBN 0679722181, Paperback)

First published in 1915, Ford Madox Ford's The Good Soldier begins, famously and ominously, "This is the saddest story I have ever heard." The book then proceeds to confute this pronouncement at every turn, exposing a world less sad than pathetic, and more shot through with hypocrisy and deceit than its incredulous narrator, John Dowell, cares to imagine. Somewhat forgotten as a classic, The Good Soldier has been called everything from the consummate novelist's novel to one of the greatest English works of the century. And although its narrative hook--the philandering of an otherwise noble man--no longer shocks, its unerring cadences and doleful inevitabilities proclaim an enduring appeal.

Ford's novel revolves around two couples: Edward Ashburnham--the title's soldier--and his capable if off-putting wife, Leonora; and long-transplanted Americans John and Florence Dowell. The foursome's ostensible amiability, on display as they pass parts of a dozen pre-World War I summers together in Germany, conceals the fissures in each marriage. John is miserably mismatched with the garrulous, cuckolding Florence; and Edward, dashing and sentimental, can't refrain from falling in love with women whose charms exceed Leonora's. Predictably, Edward and Florence conduct their affair, an indiscretion only John seems not to notice. After the deaths of the two lovers, and after Leonora explains much of the truth to John, he recounts the events of their four lives with an extended inflection of outrage. From his retrospective perch, his recollections simmer with a bitter skepticism even as he expresses amazement at how much he overlooked.

Dowell's resigned narration is flawlessly conversational--haphazard, sprawling, lusting for sympathy. He exudes self-preservation even as he alternately condemns and lionizes Edward: "If I had had the courage and the virility and possibly also the physique of Edward Ashburnham I should, I fancy, have done much what he did." Stunningly, Edward's adultery comes to seem not merely excusable, but almost sublime. "Perhaps he could not bear to see a woman and not give her the comfort of his physical attractions," John surmises. Ford's novel deserves its reputation if for no other reason than the elegance with which it divulges hidden lives. --Ben Guterson

(retrieved from Amazon Mon, 30 Sep 2013 13:22:39 -0400)

(see all 7 descriptions)

The Good Soldier by Ford Maddox Ford, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:

  • New introductions commissioned from today's top writers and scholars
  • Biographies of the authors
  • Chronologies of contemporary historical, biographical, and cultural events
  • Footnotes and endnotes
  • Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
  • Comments by other famous authors
  • Study questions to challenge the reader's viewpoints and expectations
  • Bibliographies for further reading
  • Indices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.

    Handsome, wealthy, and a veteran of service in India, Captain Edward Ashburnham appears to be the ideal “good soldier and the embodiment of English upper-class virtues. But for his creator, Ford Madox Ford, he also represents the corruption at society's core. Beneath Ashburnham's charming, polished exterior lurks a soul well-versed in the arts of deception, hypocrisy, and betrayal. Throughout the nine years of his friendship with an equally privileged American, John Dowell, Ashburnham has been having an affair with Dowell's wife, Florence. Unlike Dowell, Ashburnham's own wife, Leonora, is well aware of it. When The Good Soldier was first published in 1915, its pitiless portrait of an amoral society dedicated to its own pleasure and convinced of its own superiority outraged many readers. Stylistically daring, The Good Soldier is narrated, unreliably, by the nave Dowell, through whom Ford provides a level of bitter irony. Dowell's disjointed, stumbling storytelling not only subverts linear temporality to satisfying effect, it also reflects his struggle to accept a world without honor, order, or permanence. Called the best French novel in the English language, The Good Soldier is both tragic and darkly comic, and it established Ford as an important contributor to the development of literary modernism.

    Frank Kermode has taught at Manchester, London, and Cambridge Universities as well as at Harvard, Yale, and Columbia. Among his many books the most recent are Shakespeare's Language, Pieces of My Mind, and The Age of Shakespeare.… (more)

    (summary from another edition)

    » see all 13 descriptions

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