ABSTRACT
This chapter provides both an overview and some text-specific analysis of Ford and gender. In The Brown Owl, the Princess weeps early on as her father dies from grief but also at the overwhelming prospect' of the power she will inherit on his death: Ford Madox Ford, The Brown Owl: A Fairy Story, of protagonists in The Good Soldier to the partnered masculine doubles', androgynous rich girls, New York lesbians and capitalist powerhouses of his 1930s fiction. Ford's war-time experience left him wrestling above all, perhaps, with questions of perspective: of how to represent the war in narrative as he had seen and known it, if he was to do this at all. But the war makes a new man of Tietjens, and he survives the experience he actively seeks the experience of being reconstituted by and through his love for Valentine.
