02688cam a22003253u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000070011910000330012624500130015926400510017230000470022333600260027033700260029633800360032250000310035850800150038952017250040453400640212965300360219365300160222985600740224585600430231977802UtSlPG20260610134813.0mcr n260607r20261929utu|||||o|||||||||||||| d  a29024226  aUtSlPG 7aen2iso639-1 4aPR1 aFord, Ford Madox,d1873-193910aNo enemy 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2026-01-28  aSean/IB@DP  a"No Enemy" by Ford Madox Ford is a reflective novel written in the early 20th century. It follows a poet-soldier nicknamed Gringoire as he tries to reconstruct a humane, frugal, and beautiful life after the Great War, his story recorded by a friend who visits his dilapidated “Gingerbread Cottage.” The focus is on how war alters perception and values, blending domestic economies, gardening, and cooking with meditations on memory, landscape, and the longing for sanctuary.

At the start of the novel, the narrator introduces Gringoire—an eccentric veteran, gardener, and self-styled economist—living with Mme. Sélysette and holding court over shandygaff as the compiler takes notes. Gringoire boasts of saving society through meticulous thrift and brain-over-manure gardening, yet drifts into monologues about how the war blotted out the world’s “nooks,” leaving only a few piercing visions: Guards drilling in Kensington Gardens under the shadow of imagined invasion; an Essex station moment colored by the news of Kitchener’s death; an exultant walk through a “sea” of swallows near the Somme; and the commanding prospect from Mont Vedaigne as he maps positions, watches “statue shells” over Poperinghe, and feels a fierce homesick pull toward a green, inviolable valley. These scenes frame his central theme: fear not only for people but for the very shame of violated landscapes, and a postwar hunger for a protected corner of earth. An “Intermezzo” closes this opening with his measured view on the word “Hun,” reserving it for propaganda-mongers rather than enemy soldiers and noting that, in the trenches, outright hatred was rare. (This is an automatically generated summary.)  pOriginally published:cNew York: The Macaulay Company, 1929  aWorld War, 1914-1918 -- Fiction  aWar stories4 uhttps://archive.org/details/noenemytaleofrec0000ford/page/n3/mode/2up40uhttps://www.gutenberg.org/ebooks/77802