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A Man Could Stand Up (Parade's End, Book 3) by Ford Madox Ford

By Ford Madox Ford

A guy may well Stand Up - is the 3rd novel of Ford Madox Ford's highly-regarded series of 4 novels recognized jointly as Parade's End.

Published in 4 components among 1924 and 1928, his impressive novel facilities on Christopher Tietjens, an officer and gentleman-"the final English Tory"-and follows him from the safe, orderly global of Edwardian England into the chaotic insanity of the 1st global struggle.

Against the backdrop of a global at conflict, Ford recounts the complicated sexual struggle among Tietjens and his faithless spouse Sylvia. a piece of actually notable subtlety and profundity, Parade's End affirms Graham Greene's prediction: "There is not any novelist of this century prone to stay than Ford Madox Ford."

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Ten years later, over a hundred police were required to guard him between the Tokyo docks and the Imperial Hotel. On a two-month visit to Europe in 1931, which included a short detour into Africa, he had to abandon shopping expeditions in Algiers and Marrakech. In Berlin, he was the guest of the Reichstag. In Paris, the Briand Cabinet attended his investiture into the Legion of Honour. G. Wells, J. M. Barrie, Emil Ludwig, Lloyd George, Lady Astor, the King and Queen, the Prince of Wales, the Duke of Connaught and Bernard Shaw.

Which indeed he was, even though his conceit was a kind of bluster covering up the rueful knowledge that he was no more than a big fish in a tiny and socially rather murky pond of Southern California. On lonely evenings—and Chaplin always prized the good artist’s retreat into the loneliness that breeds ideas—he liked to go over to a favourite cafe in Santa Monica owned and run by one Nat Goodwin, a light comedian who had long ago established himself in London as what Max Beerbohm, among others, thought of as the supreme ‘American mime’.

It was probably about as luxurious as any of the rooms Chaplin rented in the boarding-houses of pre-war England, and as I was to learn, in working there the following year, it reflected Chaplin’s deep distrust of elegant surroundings whenever there was serious work on hand. It was also, it now strikes me, the reassuring home base that some men whose childhoods have been grindingly poor require in the years of their affluence. Chaplin himself had noticed the same trait in Bronco Billy Anderson and may have caught from him the courage to indulge it.

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