‘Men’s Dwellings Were Thin Shells’: Uncertain Interiors and Domestic Violence in Ford Madox Ford’s War Writing

The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: ‘men’s dwellings were thin shells that could be crushed as walnuts are crushed. … all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields …’. This realisation works in two ways. The soldier’s sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: ‘it had been revealed to you’, adds Ford, ‘that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos’. It is now customary to read war literature through trauma theory. Building on analyses of Ford’s use of repression, but drawing instead on object relations theory, I argue that Ford’s houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford’s handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem ‘The Old Houses of Flanders’; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of ‘Four Landscapes’ and ‘Certain Interiors’.