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Old 08-16-2009, 01:12 PM   #1
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Conrad, Joseph & Hueffer, Ford M.: Romance. V1. 16 Aug 2009

Ford Madox Ford (December 17, 1873 – June 26, 1939) was an English novelist, poet, critic and editor whose journals, The English Review and The Transatlantic Review, were instrumental in the development of early 20th-century English literature.[citation needed] He is now best remembered for The Good Soldier (1915) and the Parade's End tetralogy.
Born Ford Hermann Hueffer, the son of Francis Hueffer, he was Ford Madox Hueffer before he finally--in 1919, at a time when German connotations proved unpopular--settled on the name Ford Madox Ford in honor of his grandfather, the Pre-Raphaelite painter Ford Madox Brown, whose biography he had written.

Joseph Conrad (born Józef Teodor Konrad Korzeniowski; 3 December 1857 – 3 August 1924) was a Polish-born English-language novelist who in 1886 became a British subject. He is regarded as one of the greatest novelists in English[1] though he did not speak the language fluently until he was in his twenties (and then always with a marked Polish accent). He wrote stories and novels, predominantly with a nautical setting, that depict trials of the human spirit by the demands of duty and honor.


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To yesterday and to to-day I say my polite "vaya usted con Dios." What are these days to me? But that far-off day of my romance, when from between the blue and white bales in Don Ramon's darkened storeroom, at Kingston, I saw the door open before the figure of an old man with the tired, long, white face, that day I am not likely to forget. I remember the chilly smell of the typical West Indian store, the indescribable smell of damp gloom, of locos, of pimento, of olive oil, of new sugar, of new rum; the glassy double sheen of Ramon's great spectacles, the piercing eyes in the mahogany face, while the tap, tap, tap of a cane on the flags went on behind the inner door; the click of the latch; the stream of light. The door, petulantly thrust inwards, struck against some barrels. I remember the rattling of the bolts on that door, and the tall figure that appeared there, snuffbox in hand. In that land of white clothes, that precise, ancient, Castilian in black was something to remember. The black cane that had made the tap, tap, tap dangled by a silken cord from the hand whose delicate blue-veined, wrinkled wrist ran back into a foam of lawn ruffles. The other hand paused in the act of conveying a pinch of snuff to the nostrils of the hooked nose that had, on the skin stretched tight over the bridge, the polish of old ivory; the elbow pressing the black cocked-hat against the side; the legs, one bent, the other bowing a little back—this was the attitude of Seraphina's father.
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