Beautiful Birds and Hun Planes: Ford Madox Ford in the Early Age of Flight
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1 | Stang and Cochran (1994, p. 52). They date the letter, which was mistakenly dated 4/1/18 in Ford’s holograph, [4 January 1919] but there are strong arguments against this dating also, as discussed by Saunders (1996, II, 564 n.4). |
2 | Ford (1999, pp. 77–139). Details of the text are echoed on numerous occasions in Ford’s later writings, both fictional and autobiographical. |
3 | Ford’s contract with the American publisher Macaulay retained the title ’English Country’ and alternative titles were still being discussed two months before publication: Ford ([1929] 2002, p. xiv). |
4 | Letters of Ford Madox Ford, 191. The phrase ‘the country’ should perhaps be approached warily. Richard Ludwig, in his prefatory list of Ford’s books, termed it ‘Autobiography described as fiction’ (xv). |
5 | Gorman review in New York Herald Tribune Books, 5 (29 December 1929): see Harvey (1972, p. 385). In Ford (1921), Ford cites a ‘friend’ sending a letter, addressing him as ‘Gringoire’ and, recalling the Imagist dinner of July 1914, asks: ‘Do you remember, Gringoire?’ (pp. 79, 176). |
6 | The published volume has some fifty emendations from the first instalment alone, even aside from those necessitated by the shift from the first-person narrator. |
7 | Ford to Pinker, 9 October 1919 (The Huntington Library, California: Ford Madox Ford Letters, mssFMF1-316). The letter in which he expresses concern that Pinker views it as a novel rather than ‘a piece of writing’ was dated 22 January 1920: Ford (1986, pp. 478–79). |
8 | Cook (2003, pp. 191–205, 194–95). See also Saunders (2014, pp. 109, 111). The interplay of Gringoire and the Compiler is a central concern of Rummel (2018, pp. 54–64). |
9 | Max Saunders, introduction to ‘True Love & a GCM’, War Prose, 77. He discusses ‘A Day of Battle’ as ‘one of the key documents in the genesis of Parade’s End’ in Ford Madox Ford: A Dual Life, II, 197–201. The essays are a central reference point in the first section, ‘Ford Madox Ford’s Unrelatable Narrative of War’, of Brasme (2023, pp. 16–54), and are discussed by several scholars in Haslam et al. (2019), including Laura Colombino, ‘Ford, vision, and media’, 402–3; see also O’Malley (2015, pp. 118–20). |
10 | Searle (2004, p. 506). He notes that the phrase had been used by Northcliffe about the first recorded flight in Europe, made by Alberto Santos-Dumont in October 1906. It was widely used in the press—British, French and German—immediately following Blériot’s historic half-hour journey. |
11 | Hughes (1991, pp. 38, 40). Marjorie Perloff observes that ‘Delaunay’s colorful celebration of those biplanes’ circling the Eiffel Tower ‘seems curiously devoid of any inkling that the airplane might have uses quite different from those of transport or spectacle’: Perloff (2003, pp. xvii–xviii). |
12 | Hibberd (2002, p. 194). Owen spoke to his Colonel about it again in December but still nothing came of it (201). |
13 | The Times (30 October 1917), 10. |
14 | Wells (1902, p. 32, n.12). A suggestion cited approvingly by Wyatt (1915), who stressed that the development of aviation had made command of the sea obsolete as a final means of defence against attack. |
15 | Gollin (1989, pp. 102–3, 172). Fisher returned to the Admiralty as First Sea Lord in October 1914 but fell out with Churchill over the proposed Dardanelles campaign and resigned in 1915. |
16 | Laffin (1997, p. 120). David Pascoe quotes the French philosopher Paul Virilio’s 1989 War and Cinema, on aviation, just prior to the outbreak of war, ‘“becoming one way, or perhaps even the ultimate way, of seeing”; in effect, the Air Force emerged out of the art of reconnaissance’: ‘Warplane’, Piette and Rawlinson (2012, p. 368). |
17 | Even earlier, though, in another war, that between Italy and the Ottoman Empire, Italian pilots in Libya not only carried out reconnaissance flights (October 1911) but dropped four bombs on the town of Ain Zara, on 1 November. |
18 | This was the raid in which Maurice Hewlett’s son, Francis (‘Cecco’) Hewlett, took part; forced to ditch in the sea, he was posted as ‘missing’, but was picked up by a Dutch trawler and made his way back to England. The novelist Erskine Childers instructed the seaplane pilots on navigating by means of landmarks and the stars. |
19 | ‘Over the sepulchral, catacombed city, aeroplanes flew and fought in the cold winter sun’, Edmund Blunden wrote of Ypres in early 1917: Blunden ([1928] 2015, p. 135). |
20 | David Pascoe, ‘Warplane’, in The Edinburgh Companion to Twentieth-Century British and American War Literature, 367. |
21 | So Marinetti referred to Nevinson in ‘A Futurist Manifesto: Vital English Art’: see Walsh (2002, pp. 76–77). Stressing that aviation was ideal for an artist seeking ‘novelty, originality and dynamism in his subject matter’, and also lent itself to ‘Futurist principles’, Walsh identifies Nevinson’s A Taube Pursued by Commander Samson [1915] as one of the ‘first ever attempts to capture in paint the entire concept of aviation and aerial conflict’ (117). Samson (then a Lieutenant) had become one of the Royal Navy’s first qualified pilots, in April 1911, after just two months’ instruction. Malvern (2004, p. 57). |
22 | Increasingly so, in fact: see Max Saunders, ‘Ford in 1922’, Last Post: A Literary Journal from the Ford Madox Ford Society, I, 8–9 (Spring & Autumn, 2022), 1–19 (particularly 6–10). |
23 | ‘Epilogue’ (written between early 1917 and January 1919), 62–63, though unpublished at the time: see War Prose, 52–63. It was rewritten to form part of a chapter in No Enemy, ‘Rosalie Prudent’. |
24 | Particularly the opening chapter, ‘Thistle-Down’. See Ford Madox Ford, ‘The Work of W. H. Hudson’, English Review, II, v (April 1909), 160; Thus to Revisit, 77; Return to Yesterday (London: Gollancz, 1931), 26. |
25 | No Enemy, 32. |
26 | In Ford’s telling, Masterman in 1913 was already predicting war with Germany. When it began, Masterman was placed in charge of the propaganda department based in Wellington House, previously the premises of the Insurance Commission. A first Wellington House conference, primarily of writers who promised their services, was held in early September 1914: Masterman ([1939] 1968, pp. 272–73). Ford was not among those present: the likely reasons for his absence are discussed by Borkett-Jones (2019, pp. 83–84). |
27 | Ford, Return to Yesterday, 422–23. This is oddly reminiscent of Arthur Ransome’s memory of his friend William Canton’s delight, on the long hill into Shaftesbury in 1911, ‘at looking down on a kestrel hovering high over the valley below’: Ransome (1976, p. 143). |
28 | Ford (1914a, 1915). That votive monument is usually named ‘The Winged Victory’: Ford omits what the aircraft has rendered superfluous but may also allude to the Futurist Manifesto of February 1909, in which Marinetti asserts: ‘a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.’ The last of the numbered sections of the Manifesto closes by hymning ‘the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd’: Manifesto (1972, pp. 41, 42). |
29 | Ivor Gurney, letter of 21(?) June 1916, in Gurney (1991, p. 102). See W. H. Davies’ ‘Clouds’: ‘My Fancy loves to play with Clouds/ That hour by hour can change Heaven’s face;/ For I am sure of my delight, / In green or stony place’. |
30 | As did Ludwig Wittgenstein, then an aeronautics research student at Manchester University. ‘It was his apparent intention to construct, and eventually to fly, an aeroplane of his own design’: Monk (1991, p. 28). |
31 | Balla (1914, pp. 41, 144). Giacomo Balla was one of the most prominent Futurists. Lewis asserted that Balla ‘is the best painter of what was once the Automobilist group.’ |
32 | Michel and Fox (1969, pp. 56–57, 146). Lewis did, though, admire the wartime paintings of aeroplane scenes by John Turnbull, which used ‘a near-abstract, geometrical style’ (102). |
33 | Ford Madox Ford [as Daniel Chaucer], Ford (1912a, p. 248). Brooklands, in Surrey, was a motor-racing circuit and aerodrome which opened in 1907, was requisitioned by the War Office in 1914, and by 1918 had become the largest aircraft manufacturing centre in the country. |
34 | Referring to its imminent publication in an unpublished letter to C. F. G. Masterman (21 October 1914), Ford commented: ‘Now, if you would have eighty million copies of my poem about the Belgians, which will appear in next Saturday’s Outlook, distributed about the globe from aeroplanes you might do something’ (Ford Madox Ford collection, #4605. Division of Rare and Manuscript Collections, Cornell University Library). Around fifty of Ford’s weekly articles in The Outlook appeared between 4 August 1914 and Ford’s departure for training in Tenby. |
35 | Max Saunders, Ford Madox Ford: A Dual Life, I, 484. |
36 | Hunt and Hueffer ([1915] 1916, p. 405). That choice of age—thirty-three—may prompt thoughts of Sylvia Tietjens asserting to General Campion that Christopher desires ‘to model himself’ upon ‘“our Lord Jesus Christ”’: Ford ([1925] 2011, pp. 148–49). Among the several Serapions of the classical world is the second century’s martyred Serapion of Macedonia. |
37 | Letters of Ford Madox Ford, 67. To his mother in August he remarked: ‘we hardly ever see one of their planes’: War Prose, 224. |
38 | Letter to Conrad of 6 September 1916: Stang (1981, p. 173). The ‘sifting’ glass appears too in Ford’s ‘Preface’ to Violet Hunt’s Their Lives: see War Prose, 190. |
39 | Ford ([1926] 2011, p. 137). On this see Ford (1934, p. 196): ‘Wounds, rain, fear, and other horrors are terrible but relatively simple matters; you either endure them or you do not.’ |
40 | As Modris Eksteins remarked, ‘From its start, the war was a stimulus to the imagination’: Eksteins (1990, p. 208). For a recent discussion of the impact of air raids on the civilian population, see Grayzel (2023, pp. 583–98). |
41 | Longenbach (1990, p. 180); Yeats (1994, pp. 184–85). Gregory was shot down by an Italian plane in error, a fact not immediately known: Foster (2003, p. 117). |
42 | Kipling ([1917] 1987, p. 355). His earlier ‘The Edge of the Evening’ (December 1913), has two foreign spies killed in an altercation after their biplane develops engine trouble and lands in the grounds of an English country house. He had published ‘With the Night Mail’ in 1905 and ‘As Easy as A. B. C.’ in 1912 (its first draft written five years earlier). |
43 | [21 March 1915], Mansfield (1990, p. 26). Mansfield’s responses to this and other air raids are discussed in Kelly (2020, pp. 129–33). |
44 | Cf. Herbert Read in October 1917: ‘I was thoroughly “fed up” with the attitude of most of the people I met on leave—especially the Londoners. They simply have no conception whatever of what war is really like and don’t seem concerned about it at all. They are much more troubled about a few paltry air raids’, Read (1963, p. 112). |
45 | Ford, It Was the Nightingale, 76–84. He mentions the damage to the premises of John Bull magazine and people killed in a shelter. Reports in the 30 January issues of the Guardian and the Daily Mirror, and the notice from John Bull in the Evening Standard, confirm the date. The raids were among those singled out by Peel (1929, p. 147). |
46 | A briefer version of this visit is ‘Trois Jours de Permission’, written almost immediately after the events described, in War Prose, 49–51. |
47 | Sounds of ‘pickaxes beneath his flea-bag’ and a German officer’s voice under his camp-bed, calling for a candle, are among the manifestations of Christopher Tietjens’ nervous strain in A Man Could Stand Up– (82–85). |
48 | Hewlett’s The Queen’s Quair was published in 1904; Ford presumably refers to his own The Fifth Queen (1906). Hewlett’s wife Hilda was the first woman in the United Kingdom to gain a pilot’s licence, in 1911. |
49 | Stang and Cochran, Correspondence of Ford Madox Ford and Stella Bowen, 28. ‘Blimph’ appears to be Ford’s error for ‘blimp’, a small airship used for scouting and observation. The word was later associated with a pompous and rigidly conservative ex-army officer, popularized by David Low’s cartoons of ‘Colonel Blimp’. |
50 | ‘Air Transport and Travel’, then Daimler Airlines, Imperial Airways and others offered flights to Paris from 1920–1922: Pugh (2008, p. 316). |
51 | A Man Could Stand Up– 170. Last Post offers another version, Groby Great Tree 365ft high, Groby well 365ft deep, though this declaration depends on the Cleveland villagers being ‘really imaginatively drunk’ (80). |
52 | Ernst Toller, Eine Jugend in Deutschland (1933), translated as I Was a German by Ford’s friend Edward Crankshaw (John Lane, The Bodley Head, 1934), excerpted in Glover and Silkin (1990, p. 273). |
53 | C. E. Montague, in his introduction, ‘War Aeroplanes’, to British Artists at the Front. I: C. R. W. Nevinson (Country Life, 1918). |
54 | ‘But we stand down below’, Franz Kafka wrote of the 1909 airshow, ‘quite left behind and insignificant and we watch this man’: ‘The Aeroplanes at Brescia’ [1909], Kafka (1992, p. 8). |
55 | Cecil Lewis, Sagittarius Rising, 54. |
56 | Sara Haslam observes that ‘In both cases the effect depends on the sense of mortality that is also made present by Ford’: A Man Could Stand Up– xxiii. Karolyn Steffens, in ‘Impressionism and Psychoanalytic Trauma Theory’, notes the later avoidance of explicit mentioning of the dead beneath the thistles: Chantler and Hawkes (2015, pp. 44–46). Ford’s poem ‘The Iron Music’, mentions ‘Dust and corpses in the thistles’ and is dated ‘Albert 22/7/16’, just days after his arrival there. |
57 | The ‘glamours’: so phrased in Ford (1926, p. 195, 184). |
58 | See Sara Haslam, ‘Ford’s Training’, in Ford Madox Ford’s Modernity, 35–46; Paul Skinner, ‘Tietjens Walking, Ford Talking’, in Ford Madox Ford’s Parade’s End: The First World War, Culture, and Modernity: International Ford Madox Ford Studies 13, edited by Ashley Chantler and Rob Hawkes, (Amsterdam: Rodopi, 2014), particularly 132–33. |
59 | On telephones, see Philip Horne, ‘Absent-Mindedness: Ford on the Phone’, in Hampson and Saunders, Ford Madox Ford’s Modernity, 17–34; Kate McLoughlin, ‘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. |
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Skinner, P. Beautiful Birds and Hun Planes: Ford Madox Ford in the Early Age of Flight. Humanities 2024, 13, 76. https://doi.org/10.3390/h13030076
Skinner P. Beautiful Birds and Hun Planes: Ford Madox Ford in the Early Age of Flight. Humanities. 2024; 13(3):76. https://doi.org/10.3390/h13030076
Chicago/Turabian StyleSkinner, Paul. 2024. "Beautiful Birds and Hun Planes: Ford Madox Ford in the Early Age of Flight" Humanities 13, no. 3: 76. https://doi.org/10.3390/h13030076