Anderson, Donald K., Jr. John Ford. New York: Twayne, 1972. A general biography and handbook.
Anderson, Donald K., Jr., ed. “Concord in Discord”: The Plays of John Ford, 1586-1986. New York: AMS Press, 1986. Rich in insights into Ford’s dramaturgy and imagery, this well-written study provides a sensitive, balanced understanding of all Ford’s plays and poems.
Champion, Larry. Tragic Patterns in Jacobean and Caroline Drama. Knoxville: University of Tennessee Press, 1977. This excellent book on the changing societal values of later Renaissance drama discusses plays by William Shakespeare, Ben Jonson, Cyril Tourneur, John Webster, Thomas Middleton, and Ford. Readers interested in Ford’s place among his literary peers and in the ways the dramas of the age “effectively capture the spiritual uncertainties of an increasingly analytical age” should consult Champion’s book.
Clark, Ira. Professional Playwrights: Massinger, Ford, Shirley and Brome. Lexington: University Press of Kentucky, 1992. Examines Ford in comparison to his peers.
Clerico, Terri. “The Politics of Blood: John Ford’s ’Tis Pity She’s a Whore.” English Literary Renaissance 22 (1992). Ford’s most famous play is examined.
Dyer, William D. “Holding/Withholding Environments: A Psychoanalytic Approach to Ford’s The Broken Heart.” English Literary Renaissance 21 (1991). A specialized interpretation of an important play.
Farr, Dorothy. John Ford and the Caroline Theatre. London: Macmillan, 1979. Farr studies Ford’s plays and their suitability for the specific theaters where they were first staged, but such a narrow-sounding topic should not deter the general reader. Farr writes effectively about many aspects of Ford’s art.
Foster, Vera. “Ford’s Experiments in Tragicomedy: Shakespearean and Fletcherian Dramaturgies.” In Renaissance Tragicomedy: Explorations in Genre and Politics, edited by Nancy Klein Maguire. New York: AMS Press, 1987. A comparative approach to Ford’s dramatic structure.
Neill, Michael, ed. John Ford: Critical Re-Visions. Cambridge, England: Cambridge University Press, 1988. Eleven essays cover topics such as stage history, imagery, use of melodrama, the question of decadence, metatheater in Love’s Sacrifice, and gender in Perkin Warbeck.
Sanders, Julie. Caroline Drama: The Plays of Massinger, Ford, Shirley, and Brome. Plymouth, England: Northcote House, in association with the British Council, 1999. Sanders examines the works of Caroline Age dramatists Philip Massinger, James Shirley, Richard Brome, and Ford. Includes bibliography and index.
Sensabaugh, George F. The Tragic Muse of John Ford. Stanford, Calif.: Stanford University Press, 1944. This famous study presents Ford as a modernist in temperament, someone who celebrates “scientific determinism” and “unbridled individualism.”