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For facts a most profound contempt
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This chapter examines Ford’s reminiscences—Ancient Lights and Certain New Reflections (1911), Thus to Revisit (1921), Joseph Conrad: A Personal Remembrance (1924), Return to Yesterday (1931), and It Was the Nightingale (1934). The chapter begins with a discussion of different degrees of autobiography, and the difference between autobiography and autobiographical forms including the roman à clef. It then traces the evolution of Ford’s reminiscences from his early “Literary Portraits” up to Mightier Than the Sword (1938). It argues that Ford forged a new genre, fusing fact and fiction to portray his contemporaries. Ford’s reminiscences are seen as group portraits, and Ford’s accounts of Conrad, James, Lewis, Stein, and Wells are discussed. The chapter also examines how the pivotal experience of the First World War was avoided by Ford in all his autobiographies, and how Ford also omitted his relationships with women in his reminiscences.
Title: For facts a most profound contempt
Description:
This chapter examines Ford’s reminiscences—Ancient Lights and Certain New Reflections (1911), Thus to Revisit (1921), Joseph Conrad: A Personal Remembrance (1924), Return to Yesterday (1931), and It Was the Nightingale (1934).
The chapter begins with a discussion of different degrees of autobiography, and the difference between autobiography and autobiographical forms including the roman à clef.
It then traces the evolution of Ford’s reminiscences from his early “Literary Portraits” up to Mightier Than the Sword (1938).
It argues that Ford forged a new genre, fusing fact and fiction to portray his contemporaries.
Ford’s reminiscences are seen as group portraits, and Ford’s accounts of Conrad, James, Lewis, Stein, and Wells are discussed.
The chapter also examines how the pivotal experience of the First World War was avoided by Ford in all his autobiographies, and how Ford also omitted his relationships with women in his reminiscences.
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