Writers at War: Exploring the Prose of Ford Madox Ford, May Sinclair, Siegfried Sassoon and Mary Borden

Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
List of Figures
Acknowledgements
Introduction
	A Note
	About Primary References
	Notes
	Bibliography
		Primary Sources
		Secondary Sources
Chapter 1: Ford Madox Ford’s Unrelatable Narrative of War
	Introduction
	The Elusive ‘Muse of War’
		Ford’s Scopic Predicament: From Far-Sightedness to Near-Sightedness
		A Narratorial Impasse
		The Impediment of Overwork
		Trauma as a Hindrance to Impressionist Writing
		‘What Is the Good of Writing About Literature’ During the War?
	Writing as Ethical Imperative
		The Mission to ‘Express Emotion’
		Ethical Numbness
		Towards an Ethics of Singularity
	From Ethical Injunction to Aesthetic Reinvention
		An Anamorphic Mode of Representation
		Developing Auditory Impressionism
		Impressionist Resilience and Reinvention in ‘Pon… ti… pri… ith’
	Conclusion: Towards Parade’s End
	Notes
	Bibliography
		Primary Sources
		Secondary Sources
Chapter 2: ‘The Fantastic Dislocation of War’: May Sinclair’s Aporetic War Chronicle
	Introduction
	A War Journal?
		Generic Instability
		A Pervasive Negativity
		Textual Sabotage
	‘The High Comedy of Disaster’: Sinclair’s Carnivalesque Narrative
		An Oxymoronic Account
		Laughter at War
		A Dialogic Dynamic
		Sinclair’s Incongruous Geography of the War
		Sinclair’s Liminal Stance
	From Representational Crisis to an Alternative Mimesis
		Towards ‘Naked, Shining, Intense Reality’?
		The Fruitful Mediacy of Writing
		A Poetics of Reticence
	Conclusion
	Notes
	Bibliography
		Primary Sources
		Secondary Sources
Chapter 3: Writing Oneself at War: Siegfried Sassoon’s War Diaries
	Introduction
	The Generic Fluidity of Sassoon’s War Diaries
		The Diary as ‘Antifiction’
		The Diary as Writing Workshop
		Pastoral Prose
		Impersonality in the Face of Extreme Danger
		Sassoon’s Account of the First Day of the Battle of the Somme
		The Teleological Perspective of Sassoon’s Diaries
	Writing a Myth of Oneself 20
	An Instance of Intensely Layered Writing: Recounting the Attack on Fontaine-lès-Croisilles (11–17 April 1917)
	Conclusion
	Notes
	Bibliography
		Primary Sources
		Secondary Sources
Chapter 4: From the ‘Bleeding Edge’ of War: The Singular Voice of Mary Borden
	Introduction
	Writing in Defiance of the Conventional Nurse Figure
		The Invisibilisation of the Nursing Gaze
		The Silenced Voices of War Nurses
		Writing as an Assertion of the Nurse’s Scopic Power
		Demystifying the Idealised Nurse Figure
	A Liminal Geography of Care
		An Ironical Cartography
		A Derisive Intertextual Geography
		Deconstructed Spaces
		Interstitial Spaces
	Writing Alienation
		An Experience of Estrangement
		Nursing from the Edge of Oneself
		From Abject to Reject
	Conclusion: Modernism and Mimesis
	Notes
	Bibliography
		Primary Sources
		Secondary Sources
Epilogue
Index