Johns Hopkins Essay Prompt 2013 Ford

Johns Hopkins University is the oldest research university in the United States. Located in Baltimore, Maryland, it is home to just over 5,000 undergraduate students and more than 14,000 graduate students. Although renowned for its School of Medicine, its undergraduate campus is also highly prestigious. Johns Hopkins University admitted just over 3,000 students for its Class of 2020, resulting in an acceptance rate of 11.4%.


Undergraduate education at Johns Hopkins University is largely research-based. Nearly 80% of undergraduates perform some kind of independent research throughout their college careers. Johns Hopkins University is also home to the oldest continuously running university press in the United States.


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Johns Hopkins Application Essay Prompt

In addition to submitting the Common Application, Coalition Application, or Universal College Application, Johns Hopkins University requires applicants to write a supplementary essay. The writing supplement consists of just one essay with a required length of 300-400 words. The prompt included below asks you to recount a time when you collaborated with others and to share your thoughts on the experience.

Bibliography: Critical Writing on Ford

Critical Writing on Ford, 1891-1999

For critical writing that was published from 1891 to 1999, see: David Dow Harvey, Ford Madox Ford: 1873-1939: A Bibliography of Works and Criticism (Princeton: Princeton University Press, 1962); and Max Saunders, ‘Ford Madox Ford: Further Bibliographies’, English Literature in Transition 1880-1920, 43:2 (2000), 131-205. Students should initially consult the ‘Selected Bibliography’ in the Norton Critical Edition of The Good Soldier, second edition, ed. Martin Stannard (New York: Norton, 2012).

Critical Writing on Ford, 2000 Onwards

This bibliography is split into three parts:

  • Periodical Articles;
  • Books Significantly Mentioning or Drawing upon Ford;
  • Dissertations on or Significantly Mentioning Ford.

Please email updates and corrections to Emma Doolan: 

With thanks to: John Attridge, Alexandra Becquet, Laura Colombino, Michael Copp, Fabienne Couécou, Andrew Frayn, Sara Haslam, Rob Hawkes, Michele Gemelos, Robert Gomme, Charlotte Jones, Seamus O’Malley, Alan Munton, Petra Rau, Stephen Rogers, Max Saunders, Paul Skinner, Johan Velter.

[First version of bibliography: 24 Aug. 2009; updated 8 July 2010; 1 Oct. 2011; 12 June 2012; 1 Oct. 2012; 20 Aug. 2013; 20 Dec. 2013; 17 Aug. 2014; 4 Nov. 2014; 9 July 2015; 22 October 2015]

Updated 29 March 2017.
Periodical Articles
Abdalla, Venetia, ‘“Lauder Brunton Says …”: The Identity of Dowell’s “Someone” in The Good Soldier’, Notes and Queries, 60.2 (2013), 279-281.
Attridge, John, ‘Steadily and Whole: Ford Madox Ford and Modernist Sociology’, Modernism/modernity, 15.2 (2008), 297-316.
Attridge, John, ‘The Saddest Tory’ [review essay], Modernism/modernity, 19.4 (2013), 799-803.
Bandici, Adina, ‘The Art of Modern Narration in Ford Madox Ford’s The Good Soldier: A Tale of Passion’, Scientific Journal of Humanistic Studies, 8.14 (2016), 53-59.
Barnes, Julian, ‘The Saddest Story’, ‘Review’ supplement, Guardian, 7 June 2008, 2-3.
Beaumont, Matthew, ‘Ford Madox Ford: Autobiography, Urban Space, Agoraphobia’, Journal of Literature and Science, 2.1 (2010), 37-49.
Betsworth, Leon, ‘“A Serious Place”: Wyndham Lewis, Tarr, and the Café’, Textual Practice, 30.5 (2016), 1-22; online [issue details not yet confirmed]. [Draws on Ford’s ideas of café spaces in Provence: From Minstrels to the Machine to analyse Lewis’s Tarr.]
Brice, Xavier, ‘Ford Madox Ford and the Composition of Nostromo’, Conradian, 29.2 (2004), 75-95.
Cheylan, Alice Bailey, ‘Ford Madox Ford: Travel Writing in Provence’, British and American Studies 22 (2016), 25-30.
Couecou, Fabienne, ‘Les Figures de l’arbre: England and the English. Ford Madox Ford’, temporel (Apr. 2013); online.
Couecou, Fabienne, ‘Ford Madox Ford, England and the English. Replacer l’autre au coeur de la littérature’, temporel (Sep. 2013); online.
Couecou, Fabienne, ‘Ford Madox Ford, son combat pour la “paix perpétuelle’ dans No Enemy’, temporel (Apr. 2014); online.
DeCoste, Damon Marcel, ‘“A Frank Expression of Personality”? Sentimentality, Silence and Early Modernist Aesthetics in The Good Soldier’, Journal of Modern Literature, 31.1 (2007), 101-23.
Doggett, Rob, ‘“Those were Troublesome Times in Ireland, I Understand”: Ireland, the Limits of Knowledge, and Ford Madox Ford’s The Good Soldier’, Modern Fiction Studies, 53.4 (2007), 697-721.
Erll, Astrid, ‘The Great War Remembered: The Rhetoric of Collective Memory in Ford Madox Ford’s Parade’s End and Arnold Zweig’s Der Streit um den Sergeanten Grischa’, Journal for the Study of British Cultures, 10.1 (2003), 49-75.
Flanagan, Anne Marie, ‘Ford’s Women: Between Fact and Fiction’, Journal of Modern Literature, 24.2 (2000), 235-49.
Gąsiorek, Andrzej, ‘Ford Madox Ford’s Modernism and the Question of Tradition’, English Literature in Transition, 1880–1920, 44.1 (2001), 3-27.
Gąsiorek, Andrzej, ‘The Politics of Cultural Nostalgia: History and Tradition in Ford Madox Ford’s Parade’s End’, Literature and History, 3rd series, 11.2 (2002), 52-77.
Griswold, Amy, ‘Ford Madox Ford’s The Good Soldier as Detective Story: Is Dowell a Murderer?’ English Literature in Transition, 1880-1920, 60.2 (2017), 152-166; online.
Hawthorn, Jeremy, ‘Ernest Bramah: Source of Ford Madox Ford’s Chinese Proverb?’ Notes and Queries, 63.2 (2016), 286-288.
Hayman, Emily, ‘“Under Four Eyes” (Unter Vier Augen): Ford Madox Ford, Propaganda, and the Politics of Translation’, Modern Fiction Studies, 62.1 (2016), 25-52.
Henstra, Sarah, ‘Ford and the Cost of Englishness: “Good Soldiering” as Performative Practice’, Studies in the Novel, 39.2 (2007), 177-95.
Hoffmann, Karen A., ‘“Am I no better than a eunuch?”: Narrating Masculinity and Empire in Ford Madox Ford’s The Good Soldier’, Journal of Modern Literature, 27.3 (2004), 30-46.
Holmes, Frederick M., ‘Divided Narratives, Unreliable Narrators, and The Sense of an Ending: Julian Barnes, Frank Kermode, and Ford Madox Ford’, Papers on Language and Literature, 51.1 (2015), 27-50; online.
Kerr, Douglas ‘Conrad and the Comic Turn’, Victorian Literature and Culture, 43.1 (2015), 149-168; online. 
Larabee, Mark D., ‘Wampum in Ford Madox Ford’s The Good Soldier: A Native American and Modernist Artifact of Place’, The Space Between: Literature and Culture, 1914–1945, 6.1 (2010), 59-79.
Larabee, Mark D., ‘Modernism and the Country House in Ford Madox Ford’s The Good Soldier’, English Literature in Transition, 1880–1920, 53.1 (2010), 75-94.
Lockyer, Rebekah, ‘Ford’s Musical Legacy: Parade’s End and Wagner’, Forum for Modern Language Studies, 50.4 (2014), 426-452.
Loeffler, Toby Henry, ‘The “Backbone of England”: History, Memory, Landscape, and the Fordian Reconstruction of Englishness’, Texas Studies in Literature and Language, 53.1 (2011), 1-25.
Maxwell, Mary, ‘Biala and Ford Madox Ford’s Buckshee: The Summer at Benfolly’, Yale Review, 102.3 (2014), 1-30.
Maxwell, Mary, ‘The Way Grass Grows: Janice Biala, Ford Madox Ford and Ezra Pound’s Pisan Cantos’, PN Review, 42.2 (2015); online. 
McCarthy, Jeffrey Mathes, ‘“The Foul System”: The Great War and Instrumental Rationality in Parade’s End’, Studies in the Novel, 41.2 (2009), 178-200.
McGuire, John Thomas, ‘Filtering and Interpreting The Great War: All Quiet on the Western Front, Journey’s End, Westfront 1918, and Their Perspectives on World War I’, Quarterley Review of Film and Video, 0.0 (2016); online. [includes discussion of The Good Soldier and Parade’s End]
McLoughlin, Kate, ‘Interruption Overload: Telephones in Ford Madox Ford’s “4692 Padd”, A Call and A Man Could Stand Up –’, Journal of Modern Literature, 36.3 (2013), 50-68.
Meyer, Eric, ‘Ford’s War and (Post)Modern Memory: Parade’s End and National Allegory’, Criticism, 32.1 (1990), 81-99.
Moss, Gemma, ‘Music, Noise, and the First World War in Ford Madox Ford's Parade's End’, Modernist Cultures 12.1 (2017), 59-77.
Mulvihill, James, ‘Ford Madox Ford’s Parade’s End Tetralogy and Evelyn Waugh’s A Handful of Dust’, Notes on Contemporary Literature, 32.3 (2002), 8-9.
O’Malley, Seamus, ‘Listening for Class in Ford Madox Ford’s Parade’s End’, Modernism/Modernity, 21.3 (2014), 689-714; online.
Park-Finch, Heebon, ‘Stoppard’s Television Adaptation of Ford Madox Ford’s Parade’s End: Process, Product, and Reception’, Adaptation: The Journal of Literature on Screen Studies, 7.3 (2014), 327-343; online.
Quint, David, ‘Uneasy Riders: Some Literary Modernisms and the Aristocracy’, Neohelicon, 42.1 (2015), 17-42.
Radford, Andrew, ‘The Gentleman’s Estate in Ford’s Parade’s End’, Essays in Criticism: A Quarterly Journal of Literary Criticism, 52.4 (2002), 314-32.
Reynier, Christine, ‘Musing in the Museums of Ford’s Provence’, Word & Image: A Journal of Verbal/Visual Enquiry, 30.1 (2014), 57-63.
Rogers, Stephen, ‘Ford Madox Ford’s English Review and the Launching of Modernism’, Letteratura e Letterature, 8.1 (2014), 59-70.
Rosenquist, Rod, ‘A Transatlantic “Field of Stars”: Redrawing the Borders of English Literature in the Late Nineteenth Century’, Critical Survey, 27.3 (2015), 105-123. Online; DOI: 10.3167/cs.2015.270307 [examines Ford’s hand-drawn map of the English coast near Romney Marsh as early version of celebrity ‘star map’]
Rosenquist, Rod, ‘The Ordinary Celebrity and the Celebrated Ordinary in 1930s Modernist Memoirs,’ Genre 49.3 (2016), 359-383; online. 
Saunders, Max, ‘Life Writing, Fiction and Modernism in British Narratives of the First World War’, RUSI Journal, 159.4 (Aug. 2014), 106-11.
Steedley, Elizabeth, ‘Fordian Confiteor: Catholicism and Social Disengagement in The Good Soldier’, Twentieth Century Literature, 61.2 (2015), 173-208.
Stokoe Brian, ‘Viewing the Metropolis: The Experience of London by Bus’, The London Journal: A Review of Metropolitan Society Past and Present, 41.2 (2016), 150-169.
Tóibín, Colm, ‘The Art of Being Found Out’, London Review of Books (20 Mar. 2008), 24-27.
Troy, Michele K., ‘Double Trouble: The Hueffer Brothers and the Artistic Temperament’, Journal of Modern Literature, 26.3/4 (2003), 28-46.
Utell, Janine, ‘On Chesil Beach and Fordian Technique: Intertextuality, Intimacy, Ethical Reading’, Journal of Modern Literature, 39.2 (2016), 89-104. [Ian McEwan’s use of Fordian technqiues, esp. The Good Soldier]
Van Puymbroeck, Birgit, ‘Between the Individual and the Collective: Ford Madox Ford, Peter Kropotkin and the Spirit of Collaboration’, Neophilologus, 97.1 (2013), 231-244.
White, Edmund, ‘The Panorama of Ford Madox Ford’, New York Review of Books, 58.5 (24 Mar. 2011), 29-30, 32.
Wiesenfarth, Joseph, ‘Ford’s Joseph Conrad: A Personal Remembrance as Metafiction: Or, How Conrad Became an Elizabethan Poet’, Renascence, 53.1 (2000), 43-60.
Books Significantly Mentioning or Drawing upon Ford
Attridge, John, ‘“I Don’t Read Novels… I Know What’s in ’em”: Impersonality, Impressionism and Responsibility in Parade’s End’, in Impersonality and Emotion in Twentieth-Century British Literature, ed. Christine Reynier and Jean-Michael Ganteau (Montpellier: Université Montpellier III, 2005).
Baldick, Chris, The Oxford English Literary History: Volume 10: 1910–1940: The Modern Movement (Oxford: Oxford University Press, 2004).
Barleben, Dale, ‘High Modernist Challenges to Legal Authority in Ford and Joyce’, Staging the Trials of Modernism: Testimony and the British Modern Literary Consciousness (Toronto: University of Toronto Press, 2017).
Barnes, Julian, ‘Ford’s The Good Soldier’, ‘Ford and Provence’, and ‘Ford’s Anglican Saint’, Through the Window: Seventeen Essays (And One Short Story) (London: Vintage, 2012).
Becquet, Alexandra, ‘Ford Madox Ford, compositeur: un regard “impressionniste” sur la Grande Guerre’, in Mutations et adaptations: le XXe siècle, ed. Alexandra Becquet and Claire Conilleau (Paris: Collection CIES-Sorbonne – Nouveau Monde éditions, 2009).
Becquet, Alexandra and Claire Davidson (eds), Ford Madox Ford's Cosmopolis: Psycho-geography, Flânerie and the Cultures of Paris (Amsterdam and New York: Rodopi, 2016).
Bonikowski, Wyatt, ‘Transports of a Wartime Impressionism: Ford Madox Ford’s Parade’s End’, Shell Shock and the Modernist Imagination: The Death Drive in Post-World War I British Fiction (Farnham: Ashgate, 2013).
Brasme, Isabelle, ‘Towards an Ethics of Singularity: The Shattered Mirror of Identity in Ford Madox Ford’s Parade’s End’, Ethics of Alterity, Confrontation and Responsibility in 19th- to 21st-Century British Literature (Montpellier: Presses universitaires de la Méditerranée, 2013).
Brasme, Isabelle,  Parade’s End de Ford Madox Ford: vers un esthétique de la crise (Montpellier: Presses universitaires de la Méditerranée, 2016).
Bowler, Rebecca, ‘Hospitality, Nostalgia, and the Itinerant Hero(ine) in Dorothy Richardson’s Pilgramage and Ford Madox Ford’s Parade’s End’, in Security and Hospitality in Literature and Culture: Modern and Contemporary Perspectives, ed. Jeffrey Clapp and Emily Ridge (New York: Routledge, 2016).
Bowler, Rebecca, Literary Impressionism: Vision and Memory in Dorothy Richardson, Ford Madox Ford, H.D. and May Sinclair (London: Bloomsbury, 2016).
Brockington, Grace (ed.), Internationalism and the Arts at the Fin de Siècle (New York: Peter Lang, 2009); contains Petra Rau, ‘The Trouble with Cosmopolitans: Ford and Forster Between Nation and Internationalism’, an early version of chp. 2 of Rau’s English Modernism, National Identity and the Germans, 1890–1950 (see below).
Brooker, Peter, and Andrew Thacker (eds), The Oxford Critical and Cultural History of Modernist Magazines: Volume I: Britain and Ireland, 1880–1955 (Oxford: Oxford University Press, 2009).
Brooker, Peter, Andrzej Gąsiorek, Deborah Longworth and Andrew Thacker (eds), The Oxford Handbook of Modernisms (Oxford: Oxford University Press, 2010).
Brown, Nicholas, ‘The Good Soldier and Parade’s End: Absolute Nostalgia’, Utopian Generations: The Political Horizon of Twentieth-Century Literature (Princeton: Princeton University Press, 2005).
Brown, Dennis, and Jenny Plastow (eds), Ford Madox Ford and Englishness (Amsterdam and New York: Rodopi, 2006).
Buelens, Geert, Europa Europa!: over de dichters van de Grote Oorlog (Baarn: Ambo, 2009); Ford mentioned on pp. 12-14, 27, 76, 98-99, 128-29, 185-86, 279.
Byatt, A. S., Portraits in Fiction (London: Chatto and Windus, 2001); pp. 11-17 on The Fifth Queen.
Carabine, Keith, and Max Saunders (eds), Inter-Relations: Conrad, James, Ford, and Others (New York: Columbia University Press, 2003).
Carr, Helen, The Verse Revolutionaries: Ezra Pound, H.D. and the Imagists (London: Jonathan Cape, 2009).
Chantler, Ashley, and Rob Hawkes (eds), Ford Madox Ford’s Parade’s End: The First World War, Culture, and Modernity (Amsterdam and New York: Rodopi, 2014).
Chantler, Ashley, and Rob Hawkes (eds), War and the Mind: Ford Madox Ford’s Parade’s End, Modernism, and Psychology (Edinburgh: Edinburgh University Press, 2015).
Chantler, Ashley, and Rob Hawkes (eds), An Introduction to Ford Madox Ford (Farnham: Ashgate, 2015).
Cobley, Evelyn, ‘Efficiency and Perverse Outcomes: Ford Madox Ford’s The Good Soldier’, Modernism and the Culture of Efficiency: Ideology and Fiction (Toronto: University of Toronto Press, 2009).
Coetzee, J.M. ‘Introduction to Ford Madox Ford’s The Good Soldier,’ The Best Australian Essays 2016, edited by Geordie Williamson (Carlton: Black Inc., 2016). [Introduction to a Spanish language edition of The Good Soldier]  
Cohen, Debra Rae, ‘Citizenship in the Salon: The Public Private War of Violet Hunt’, Remapping the Home Front: Locating Citizenship in British Women’s Great War Fiction (Boston: Northeastern University Press, 2002).
Cole, Sarah, ‘Homoerotic Heroics, Domestic Discipline: Conrad and Ford’s Romance’, Modernism, Male Friendship and the First World War (Cambridge: Cambridge University Press, 2003).
Colombino, Laura, Ford Madox Ford: Visione/Visualità e Scrittura (Naples: Edizioni Scientifiche Italiane, 2003).
Colombino, Laura, ‘Negotiating with Gaugin’s “Solar Myth”: Art, Ecomony and Ideology in Ford Madox Ford’s Provence’, in Anglo-American Modernity and the Mediterranean, ed. Caroline Patey, Giovanni Cianci and Francesca Cuojati (Milan: Cisalpino Instituto Editoriale Universitario, 2006).
Colombino, Laura, Ford Madox Ford: Vision, Visuality and Writing (Oxford: Peter Lang, 2008).
Colombino, Laura (ed.), Ford Madox Ford and Visual Culture (Amsterdam and New York: Rodopi, 2009).
Colombino, Laura, ‘The Imagination of Space: Ford Madox Ford and France’, in Franco-British Cultural Exchanges, 1880-1940: Channel Packets, ed. Andrew Radford and Victoria Reid (Basingstoke: Palgrave Macmillan, 2012).
Colombino, Laura, and Max Saunders (eds), The Edwardian Ford Madox Ford (Amsterdam and New York: Rodopi, 2013).
Copp, Michael, Ford Madox Ford: Impressions of War, War Poets series no. 26 (London: Cecil Woolf, 2011).
Couécou, Fabienne, ‘Ford Madox Ford’s England and the English: The Language of the Troubadours or Englishness Revisited’, in Cross-Cultural Encounters Between the Mediterranean and the English-Speaking Worlds, ed. Christine Reynier (Bern: Peter Lang, 2011).
Deer, Patrick, ‘Ford Madox Ford’s Parade’s End and the Recovery of Strategic Vision’, Culture in Camouflage: War, Empire, and Modern British Literature (Oxford: Oxford University Press, 2009).
Deutsch, David, British Literature and Classical Music: Cultural Contexts 1870-1945 (London: Bloomsbury, 2015). [discusses Parade’s End, Memories and Impressions, When Blood is Their Argument]
Dodman, Trevor, ‘“Not Yet Diagnosed Nervous”: Ford Madox Ford’s Parade’s End Tetralogy’, Shell Shock, Memory, and the Novel in the Wake of World War I (New York: Cambridge University Press, 2015).
Dryden, Linda, Joseph Conrad and H.G. Wells: The Fin-de-Siècle Literary Scene (Basingstoke: Palgrave Macmillan, 2015).
Edwards, Colin, ‘Dancing in the Mud: Bunting’s Documentary Tradition and
the Anecdotage of Ford Madox Ford’, in Moment of Earth: Poems and Essays in Honour of Jeremy Hooker, ed. Christopher Meredith (Aberystwyth:
Celtic Studies, 2007).
Eliot, Valerie, and Hugh Haughton (eds), The Letters of T. S. Eliot: Volume I: 1898–1922: Revised Edition (London: Faber and Faber, 2009); Ford mentioned in several letters.
Eliot, Valerie, and Hugh Haughton (eds), The Letters of T. S. Eliot: Volume 2: 1923–1925 (London: Faber and Faber, 2009); seven letters from Eliot to Ford; Ford mentioned in several others.
Erkkila, Betsy (ed.), Ezra Pound: The Contemporary Reviews (Cambridge: Cambridge University Press, 2011).
Enderwitz, Anne, Modernist Melancholia: Freud, Conrad and Ford (Basingstoke: Palgrave Macmillan, 2015). [Chapter 3 on The Good Soldier, Chapter 4 on The Inheritors & Romance]
Ferguson, Rex, ‘The Good Soldier and the Good Reader’, Criminal Law and the Modernist Novel: Experience on Trial (Cambridge: Cambridge University Press, 2013).
Fortunati, Vita, and Elena Lamberti (eds), Ford Madox Ford and ‘The Republic of Letters’ (Bologna: CLUEB [Cooperativa Libraria Universitaria Editrice Bologna], 2002).
Fowles, Anthony, Ford Madox Ford: The Principal Fiction (London: Greenwich Exchange, 2002).
Frayn, Andrew, Writing Disenchantment: British First World War Prose, 1914–30 (Manchester: Manchester University Press, 2014).
Freeman, Nicholas, Conceiving the City: London, Literature, and Art 1870–1914 (Oxford: Oxford University Press, 2007); quotations throughout from The Soul of London.
Freedman, Ariela, ‘Death Watch: Lawrence, Ford, and Freud’, Death, Men, and Modernism: Trauma and Narrative in British Fiction from Hardy to Woolf (New York: Routledge, 2003).
Gallix, François (ed.), The Good Soldier: Ford Madox Ford, preface by Julian Barnes, introduction by Max Saunders (Paris: Ellipses, 2005).
Gąsiorek, Andrzej, ‘The Politics of Cultural Nostalgia: History and Tradition in Ford Madox Ford’s Parade’s End’, Literature and History, 11.2 (2002), 52-77.
Gąsiorek, Andrzej, “‘A Haughty and Proud Generation’”, A History of Modernist Literature (Oxford: Blackwell, 2015).
Gąsiorek, Andrzej, and Daniel Moore (eds), Ford Madox Ford: Literary Networks and Cultural Transformations (Amsterdam and New York: Rodopi, 2008).
Glazzard, Andrew, Conrad’s Popular Fictions: Secret Histories and Sensational Novels (Basingstoke: Palgrave Macmillan, 2016).
GoGwilt, Christopher, ‘Jean Rhys, Ford Madox Ford, and the Memory of Joseph Conrad’, ‘Ford Madox Ford and the Repetitive Formation of English Modernism’, ‘Re-Citing Conrad in Modernist Memory’, ‘Jean Rhys and the Transatlantic Modernism of Ford’s the transatlantic review’, and ‘Reading Modernist Memory’, The Passage of Literature: Genealogies of Modernism in Conrad, Rhys, and Pramoedya (Oxford: Oxford University Press, 2011).
Gomme, Robert, George Herbert Perris 1866–1920 (Bern: Peter Lang, 2003); pp. 49-51 on the 1894 Star case; pp. 176-81 on Father Gapon and David Soskice.
Grimble, Simon, ‘Ford Madox Ford – Somewhere to Stand: From “The Condition of England” to Modernism’, Landscape, Writing and ‘The Condition of England’ – 1878–1917, Ruskin to Modernism (Lampeter: Edwin Mellen Press, 2004).
Hammond, Meghan Marie, ‘Empathy and Violence in the Works of Ford Madox Ford’, Empathy and the Psychology of Literary Modernism (Edinburgh: Edinburgh University Press, 2014).
Hampson, Robert ‘“Excursion into a Foreign Tongue’: Frederic Manning and Ford Madox Ford’ in Languages and the First World War: Representation and Memory, ed. Christophe Declercq and Julian Walker (Basingstoke: Palgrave Macmillan, 2016).
Hampson, Robert, and Tony Davenport (eds), Ford Madox Ford: A Reappraisal (Amsterdam and New York: Rodopi, 2002).
Hampson, Robert, and Max Saunders (eds), Ford Madox Ford’s Modernity (Amsterdam and New York: Rodopi, 2003).
Harding, Jason (ed.), Ford Madox Ford, Modernist Magazines and Editing (Amsterdam and New York: Rodopi, 2010).
Haslam, Sara, Fragmenting Modernism: Ford Madox Ford, the Novel and the Great War (Manchester: Manchester University Press, 2002).
Haslam, Sara (ed.), Ford Madox Ford and the City (Amsterdam and New York: Rodopi, 2005).
Haslam, Sara, ‘The Good Soldier’, in A Companion to Modernist Literature and Culture, ed. David Bradshaw and Kevin J. H. Dettmar (Oxford: Blackwell, 2006).
Haslam, Sara, ‘Making a Text the Fordian Way: Between St Dennis and St George, Propaganda and the First World War’, in Mary Hammond and Shafquat Towheed (eds), Publishing the First World War: Essays in Book History (Basingstoke: Palgrave, 2007).
Haslam, Sara, ‘Ford Madox Ford’, in The Encyclopedia of Twentieth-Century Fiction, vol. 1, ed. Brian W. Shaffer (Oxford: Blackwell, 2010).
Haslam, Sara, and Seamus O’Malley (eds), Ford Madox Ford and America (Amsterdam and New York: Rodopi, 2012).
Hawkes, Rob, Ford Madox Ford and the Misfit Moderns: Edwardian Fiction and the First World War (Basingstoke: Palgrave Macmillan, 2012).
Hawkes, Rob, ‘Bogus Modernism: Impersonation, Deception and Trust in Ford Madox Ford and Evelyn Waugh,’ Reconnecting Aestheticism and Modernism: Continuities, Revisions, Speculations, ed. Bénédicte Coste, Catherine Delyfer, Christine Reynier (New York: Routledge, 2017).
Hemingway, Ernest, The Letters of Ernest Hemingway: Volume 1, 1907-1922, ed. Sandra Spanier and Robert W. Trogdon (Cambridge: Cambridge University Press, 2011).
Hemingway, Ernest, The Letters of Ernest Hemingway: Volume 2, 1923-1925, ed. Sandra Spanier, Albert J. DeFazio III and Robert W. Trogdon (Cambridge: Cambridge University Press, 2013).
Henstra, Sarah, ‘The End of Empire: Grieving, Englishness, and Ford Madox Ford’s The Good Soldier’, The Counter-Memorial Impulse in Twentieth-Century English Fiction (Basingstoke: Palgrave Macmillan, 2009).
Hinojosa, Lynne W. ‘“I Leave it to You”: Church, State, and Morality in Ford Madox Ford’s The Good Soldier’, Puritanism and Modern Novels: From Moral Character to the Ethical Self (Columbus: The Ohio State University Press, 2015).
Hockenhull, Stella, ‘Experimentation and Postheritage in Contemporary TV Drama: Parade’s End’, Upstairs and Downstairs: British Costume Drama Television from The Forstye Sage to Downton Abbey (Lanham: Rowman & Littlefield, 2015).
James, David, Modernist Futures: Innovation and Inheritance in the Contemporary Novel (Cambridge: Cambridge University Press, 2012).
Katz, Tamar, ‘Ford, Femininity, and Unreliable Narration’, Impressionist Subjects: Gender, Interiority, and Modernist Fiction in England (Urbana: University of Illinois Press, 2000).
Klein, Scott W., ‘A Likely Possibility: The Good Soldier, the Modernist Novel, and Quasi-Familial Transcendence’, in Utopianism, Modernism, and Literature in the Twentieth Century, ed. Alice Reeve-Tucker and Nathan Waddell (Basingstoke: Palgrave Macmillan, 2013).
Kermode, Frank, Concerning E. M. Forster (London: Weidenfeld and Nicolson, 2009).
Kingsbury, Celia Malone, ‘Peculiar Sanity in the Manor House: Ford’s The Good Soldier’ and ‘Superficiality: Ford’s The Good Soldier’, The Peculiar Sanity of War: Hysteria in the Literature of World War One (Texas: Texas University Press, 2002).
Larabee, Mark D., ‘Military Mapping and Modernist Aesthetics: Blunden, Aldington, and Ford’ and ‘In Flanders with No Baedeker: Beaman, Forster, and Ford’, Front Lines of Modernism: Remapping the Great War in British Fiction (Basingstoke: Palgrave Macmillan, 2011).
Latham, Sean, The Art of Scandal: Modernism, Libel Law, and the Roman à Clef (Oxford: Oxford University Press, 2009); pp. 155-66 on Jean Rhys’s fictionalisation of Ford in her novels.
Lemarchal, Dominique, The Good Soldier de Ford Madox Ford (Paris: Ellipses, 2005).
Lemarchal, Dominique, and Claire Davison-Pégon (eds), Ford Madox Ford, France and Provence (Amsterdam and New York: Rodopi, 2011).
Londraville, Richard, and Janis Londraville (eds), Dear Yeats, Dear Pound, Dear Ford: Jeanne Robert Foster and Her Circle of Friends (Syracuse: Syracuse University Press, 2001).
Lonsdale, Sarah, ‘Edwardian Journalist-Heroes at the Birth of the Popular Press’, in The Journalist in British Fiction and Film: Guarding the Guardians from 1900 to the Present (London: Bloomsbury, 2016).
Matz, Jesse, ‘The Distant Laborer: Proust in Eulalie’s Bedroom; Conrad’s Distant Laborer; Ford’s Peasant Cabman’, Literary Impressionism and Modernist Aesthetics (Cambridge: Cambridge University Press, 2001).
McCarthy, Jeffrey Mathes, ‘Lover and the Last Post’, Green Modernism: Nature and the English Novel, 1900 to 1930 (New York: Palgrave Macmillan, 2015). 
McCarthy, Jeffrey Mathes, ‘A Reconstructionary Tale: Ford Madox Ford’s Georgic Responses to World War I’, in Great War Modernism: Artistic Response in the Context of War, 1914-1918, edited by Nanette Norris (Maryland: Rowman & Littlefield, 2016).
McDowell, Lesley, ‘The “Ingénue”: Jean Rhys and Ford Madox Ford’, Between the Sheets: The Literary Liaisons of Nine 20th-Century Women Writers (New York: Overlook Press, 2010).
Monta, Anthony and Susannah Brietz Monta, ‘Ford Madox Ford’s Fifth Queen and the Modernity of Henry VIII,’ Henry VIII and History, edited by Thomas Betteridge and Thomas S. Freeman (Routledge: London, 2016). [first published 2012, Ashgate]
Moody, A. David, Ezra Pound: Poet: A Portrait of the Man and His Work: Volume I: The Young Genius 1885–1920 (Oxford: Oxford University Press, 2007).
Morrisson, Mark, ‘The Myth of the Whole and Ford’s English Review: Edwardian Monthlies, the Mercure de France, and Early British Modernism’, The Public Face of Modernism: Little Magazines, Audiences, and Reception, 1905–1920 (Madison, Wisconsin: University of Wisconsin Press, 2000).
Nadal, Ira B. (ed.), Ezra Pound in Context (Cambridge: Cambridge University Press, 2010).
Newton, Michael (ed.), ‘The Queen Who Flew’, Victorian Fairy Tales (Oxford: Oxford University Press, 2015). Reprints ‘The Queen Who Flew’ and includes biographical notes and history of publication.
O’Malley, Seamus, ‘Rewriting and Repetition in The Good Soldier’ and ‘The Rememoration of Some Do Not . . .’, Making History New: Modernism and Historical Narrative (New York: Oxford University Press, 2014).
Parkes, Adam, ‘“The Typical Man of This Period”: Ford’s Depression’, A Sense of Shock: The Impact of Impressionism on Modern British and Irish Writing (Oxford: Oxford University Press, 2011).
Pegum, John, ‘The Parting of the Ways: The Armistice, the Silence, and Ford Madox Ford's Parade's End’, The Silent Morning: Culture and Memory After the Armistice (Manchester: Mancheester University Press, 2013).
Peters, John G., Conrad and Impressionism (Cambridge: Cambridge University Press, 2001).
Pizzichini, Lilian, The Blue Hour: A Portrait of Jean Rhys (London: Bloomsbury, 2009).
Pound, Ezra, Ezra Pound to His Parents: Letters 1895–1929, ed. Mary de Rachewiltz, A. David Moody and Joanna Moody (Oxford: Oxford University Press, 2010).
Pryor, Sean, ‘Ford's Fall’, Poetry, Modernism, and an Imperfect World (Cambridge: Cambridge University Press, 2017).
Purdon, James, Modernist Informatics: Literature, Information, and the State (Oxford: Oxford University Press, 2016). [Particularly Chapter 2: ‘Dossier Fiction’]
Rademacher, Jörg W. (ed.), Modernism and the Individual Talent: Re-Canonizing Ford Madox Ford (Hueffer) (Hamburg: Lit Verlag, 2002).
Rademacher, Jörg W., and Christian Steinhagen, Gelehrtes Münster und Rundum (Berlin: Verlag Jena 1800, 2005); includes Ford and Violet Hunt among the eighty-eight writers, philosophers and theologians associated with the city.
Rau, Petra, English Modernism, National Identity and the Germans, 1890–1950 (Aldershot: Ashgate, 2009); chps 2 and 4 draw substantially on Ford.
Reynier, Christine, ‘Mapping Ford Madox Ford’s Provence in Provence’, Provence and the British Imagination (Milan: Ledizoni, 2013).
Rodden, John. ‘Ford’s The Good Soldier: Movements of the Heart’, in Between Self and Society: Inner Worlds and Outer Limits in the British Psychological Novel (Austin: University of Texas Press, 2016).
Sabbagh, Omar, From Sight Through to In-Sight: Time, Narrative and Subjectivity in Conrad and Ford (Amsterdam and New York: Rodopi, 2014).
Saint-Amour, Paul K., ‘War Shadowing: Ford Madox Ford’s Parade’s End’, Tense Future: Modernism, Total War, Encyclopedic Form (Oxford: Oxford University Press, 2015).
Saunders, Max, ‘Literary Impressionism’, in A Companion to Modernist Literature and Culture, ed. David Bradshaw and Kevin J. H. Dettmar (Oxford: Blackwell, 2006).
Saunders, Max, ‘Literary Impressionism and Impressionist Autobiographies: Henry James, Joseph Conrad, and Ford Madox Ford’, Self Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford: Oxford University Press, 2010).
Saunders, Max, ‘“All these fellows are ourselves”: Ford Madox Ford, Race and Europe’, in Len Platt (ed.), Modernism and Race (Cambridge: Cambridge University Press, 2011).
Saunders, Max, ‘Ford Madox Ford, Impressionism and Trust in The Good Soldier’, in Incredible Modernism: Literature, Trust and Deception, ed. John Attridge and Rob Rosenquist (Farnham: Ashgate, 2013).
Saunders, Max, ‘Imagism vs. Impressionism: Ezra Pound and Ford Madox Ford’, in Imagism: Essays on Its Initiation, Impact and Influence, ed. John Gery, Daniel Kempton and H. R. Stoneback (New Orleans: University of New Orleans Press, 2013).
Saunders, Max, ‘Impressions of War: Ford Madox Ford, Reading and Parade’s End” in Reading and the First World War: Readers, Texts, Archives, ed. Shafquat Towheed and Edmund King (Basingstoke: Palgrave Macmillan, 2015).
Saunders, Max, and Sara Haslam (eds.), Ford Madox Ford’s The Good Soldier: Centenary Essays (Amsterdam and New York: Rodopi, 2015).
Seshagiri, Urmila, ‘“A race that will have no successors”: The Good Soldier and the Discontinuities of Modernity’, Race and the Modernist Imagination (Ithaca: Cornell University Press, 2010).
Skinner, Paul (ed.), Ford Madox Ford’s Literary Contacts (Amsterdam and New York: Rodopi, 2007).
Sorum, Eve, ‘Mourning and Moving On: Life After War in Ford Madox Ford’s The Last Post’, in Modernism and Mourning, ed. Patricia Rae (Lewisburg, PA: Bucknell University Press; Cranbury, NJ: Associated University Presses, 2007).
Stallworthy, Jon, Survivor’s Songs: From Maldon to the Somme (Cambridge: Cambridge University Press, 2008); pp. 137-45 on Parade’s End.
Stannard, Martin, ‘Ford, Soldiers and Transubstantiation’, in The Poetics of Transubstantiation, ed. Douglas Burnham and Enrico Giaccerini (Aldershot: Ashgate, 2004).
Stevenson, Randall, Literature and the Great War, 1914–1918 (Cambridge: Cambridge University Press, 2013).
Thirlwell, Angela, In the Frame: The Four Loves of Ford Madox Brown (London: Chatto and Windus, 2010).
Toner, Anne, ‘Ellipsis and Modernity’, Ellipsis in English Literature: Signs of Omission (Cambridge: Cambridge University Press, 2015).
Trotter, David, ‘Ford’s Impressionism’, Paranoid Modernism: Literary Experiment, Psychosis, and the Professionalization of English Society (Oxford: Oxford University Press, 2001).
Vogeler, Martha, Austin Harrison and the English Review (Columbia: University of Missouri Press, 2008).
Waddell, Nathan, Modernist Nowheres: Politics and Utopia in Early Modernist Writing, 1900-1920 (Basingstoke: Palgrave Macmillan, 2012).
Waddell, Nathan, ‘Bohemian Retrospects: Ford Madox Ford, Post-War Memory and the Cabaret Theatre Club’, in The Modernist Party, ed. Kate McLoughlin (Edinburgh: Edinburgh University Press, 2013).
West, Rebecca, The Selected Letters of Rebecca West, ed. Bonnie Kime Scott (New Haven: Yale University Press, 2000); one letter to Ford and several references.
Whelpton, Vivian, Richard Aldington: Poet, Soldier and Lover 1911–1929 (Cambridge: Lutterworth Press, 2014).
Wiesenfarth, Joseph, Ford Madox Ford and the Regiment of Women: Violet Hunt, Jean Rhys, Stella Bowen, Janice Biala (Madison: University of Wisconsin Press, 2005).
Wiesenfarth, Joseph (ed.), History and Representation in Ford Madox Ford’s Writings (Amsterdam and New York: Rodopi, 2004).
Wollaeger, Mark, Modernism, Media, and Propaganda: British Narrative from 1900 to 1945 (Princeton: Princeton University Press, 2006); on Between St. Dennis and St. George, The Good Soldier, When Blood Is Their Argument.
Wulfman, Clifford, ‘Ford Madox Ford and The English Review (1908–1937)’, in The Oxford Critical and Cultural History of Modernist Magazines: Volume I: Britain and Ireland, 1880–1955, ed. Peter Brooker and Andrew Thacker (Oxford: Oxford University Press, 2009).
Wulfman, Clifford, Modernism in the Magazines: An Introduction (New Haven: Yale University Press, 2010).
Dissertations on or Significantly Mentioning Ford
Attridge, John, ‘Impressionism and Professionalism: Ford Madox Ford, Joseph Conrad, and the Performance of Authorship.’ Ph.D. Diss. University of Sydney, 2007.
Becquet, Alexandra, ‘Ford Madox Ford et les arts: peinture, musique et arts du spectacle dans l’oeuvre romanesque’ (‘Ford Madox Ford and the Arts: Painting, Music and the Performing Arts in the Novels’). Ph.D. Diss. University Sorbonne Nouvelle – Paris 3, 2013.
Bonikowski, John Wyatt, ‘Traces of War: Shell Shock, Death Drive, and Narrative After the First World War.’ Ph.D. Diss. Cornell University, 2006.
Brasme, Isabelle, ‘Parade’s End de Ford Madox Ford: Vers une Esthétique de la Crise’ (‘Ford Madox Ford’s Parade’s End: Towards an Aesthetics of Crisis’). Ph.D. Diss. University of Paris VII, 2008.
Chantler, Ashley, ‘A Critical Edition of Ford Madox Ford’s The Questions at the Well (1893).’ Ph.D. Diss. University of Leicester, 2003.
Couécou, Fabienne, ‘La Trilogie England and the English au Coeur de L’écriture Fordienne’ (‘The Trilogy England and the English at the Core of Ford’s Writing’). Ph.D. Diss. University Paul Valéry, Montpellier III, 2011.
Frayn, Andrew, ‘Writing Disenchantment: The Development of First World War Prose, 1918–1930.’ Ph.D. Diss. University of Manchester, 2008.
Gemelos, Michele, ‘Identity and the Empire City: British Writing About New York, 1897–1931.’ Ph. D. Diss. University of Oxford, 2007.
Hawkes, Rob, ‘Destabilising Narratives: Characterising, Plotting, and Trusting in Ford Madox Ford’s Fiction.’ Ph.D. Diss. University of York, 2008.
Murphy, John, ‘Stilted Boys and Very Plucky Girls: Melodrama, Irony, and Englishness in Joseph Conrad and Ford Madox Ford.’ Ph.D. Diss. University of Virginia. 2013.
Plastow, Jenny, ‘The Representation of Masculinity in Ford Madox Ford’s Fiction.’ Ph.D Diss. University of Hertfordshire, 2000.
Steedley, Elizabeth, ‘For the Duration: Global War and Satire in England and the United States.’ Ph.D. Diss. Johns Hopkins University, 2015.
Stoecki, Sarah, ‘Static Chaos: The Great War and Modern Novels of Sterility.’ Ph.D. Diss. University of Oregon, 2012.
Compiled by Emma Doolan, Queensland University of Technology, Australia, 2015 onwards. Please email updates and corrections to
Compiled by Dr Ashley Chantler, University of Chester, UK, 2009–2015.

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