| 000 | 02718cam a22003373u 4500 | ||
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| 001 | 77802 | ||
| 003 | UtSlPG | ||
| 005 | 20260610134813.0 | ||
| 006 | m | ||
| 007 | cr n | ||
| 008 | 260607r20261929utu|||||o|||||||||||||| d | ||
| 010 | _a29024226 | ||
| 040 | _aUtSlPG | ||
| 041 | 7 |
_aen _2iso639-1 |
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| 050 | 4 | _aPR | |
| 100 | 1 |
_aFord, Ford Madox, _d1873-1939 |
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| 245 | 1 | 0 | _aNo enemy |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2026 |
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| 300 |
_a1 online resource : _bmultiple file formats |
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| 336 |
_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 500 | _aRelease date is 2026-01-28 | ||
| 508 | _aSean/IB@DP | ||
| 520 | _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.) | ||
| 534 |
_pOriginally published: _cNew York: The Macaulay Company, 1929 |
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| 653 | _aWorld War, 1914-1918 -- Fiction | ||
| 653 | _aWar stories | ||
| 856 | 4 | _uhttps://archive.org/details/noenemytaleofrec0000ford/page/n3/mode/2up | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/77802 |
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_c118522 _d118522 |
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