DOCSLIB.ORG

San Fernando Valley State College a Criticism of Malcolm Lowry's Under

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
San Fernando Valley State College a Criticism of Malcolm Lowry's Under San Fernando Valley State College A Criticism of Malcolm Lowry's Under the Volcano A thesis submitted in partial satisfaction of the requirements for the degree of Bachelor of Arts with Honors in English by Betty Koerber Received: Approved: C:fiairman, fZommittee on Honors June, 1965 With grateful acknowledgment of the help of Richard W. Lid, Ph.D Under the Volcano is the story of a man to whom the problem of his own relationship with the universe is over­ whelming; pursued by guilt and harassed by those Who love him, he allows himself to be destroyed. In a particular way, the details of Under the Volcano closely mirror those of Lowry's own life, particularly his tragic preoccupation with alcoholism. (See appendix for a brief biographical account of Lowry's life.) Fact and fiction are so interwoven in Under the Volcano that it is impossible to separate them--nor is it necessary, for it is the larger pattern of Lowry's life, his search for a personal identity and a meaningful life to accompany it, which informs his work and gives depth and perspecti.ve to otherwise isolated fragments in the his­ tory of a man's personal destruction. Evidence of Lowry's preoccupation with his various selves and their fictional counterparts can be found in Conrad Knickerbocker's brief biographical account, "The Voyages of Malcolm Lowry." Knickerbocker tells how Lowry reacted when he was notified that Under the Volcano had been accepted finally in both America and England: What Lowry ..•recogni zed in a moment of terror was the self-consuming quality of the work. The Consul [the main chargcter in the novel] had taken more than his share; like an insolent fam­ iliar, he was never too far away. Lowry could not perform the vital surgery of separating himself from his characters. He suspected at times that he was not a writer so much as being written, and with panic he realized that self­ identity was as elusive as ever. (p.311) 1. 2. The wider pattern of Lowry's involvement with self can be seen from his plan to unite his individual novels eventu­ ally into a physical and spiritual journey under the general title of The Voyage That Never �· Ultramarine, published first in 1933, was to have been the first in this series. This early novel reflects Lowry's travels at sea as a young man, and it shows the beginnings of the themes and problems so agonizingly worked out in the latter two novels. Lowry describes, through the eyes of the young sailor Hilliot, his feelings of isolation from the rest of humanity- -no doubt dating partially from his forced absence from school in his early teens--and he expresses a great need for identification with some worthy cause or person he can respect. He also manifests a strong sense of guilt for the young life he feels he has wasted. (111 have lived only nineteen years, most of them badly, " Lowry wrote in his first letter, to Conrad Aiken, the man who became both mentor and guide to the young writer. See appendix for details of this friendship.) By the end of Ultramarine, the young sailor has turned more and more to alcohol as a method of escape from his problems. Lowry brings about a mechanical solution to the boy 1 s sense of iso.lation, which was something he could not do in real life, and only in this way was he able to end the novel on a note of hope. Under the Volcano was to have formed the center of the - series. In this novel, Lowry explores more fully the prob­ lems stated in Ultramarine, in part through the opposition of attitudes and goals of the two brothers. Hugh, with his 3. idealism and his desire for positive action reveals, it seems to me, one facet of Lowry's complex personality. Geoffrey--pessimistic, addicted to alcohol, frequently de­ pressed and hopeless in outlook--seems to exhibit the other side of the coin from Hugh, and suggests parallels with Lowry himself. He is the book's major figure, and it is his despair that in the end dominates. If Hugh represents the latent idealism in Lowry, and Geoffrey the open and un­ relenting despair, the failure of Lowry to achieve a realis­ tic relationship with the rest of the world is mirrored in Geoffrey's inability to come to terms with the ruined land­ scape of his life. Lowry reache� a theoretical resolution to the problems posed in his earlier novels and stories in Hear Us 0 Lord From Heaven Thy Dwelling Place, and he intended it to be the last in his series. A collection of seven short stories, all but one dealing with the lives of alcoholic writers, Hear � 0 Lord was not published until �962, five years after the author's death. In the seventh and last story, The Forest � to the Spring, Lowry drops the thin disguises found in his other works, and writes a frankly autobiographical account, of his early attempt at rehabilitation. In 1940, he and his wife Marjorie went to live in a shack on the beach at Dollar­ ton, British Columbia; this is the setting for The Forest Path !£ the Spring. After leading a very precarious existence under elemental conditions for some time, and closely observing his hardy neighbors who handled their lives so successfully, Lowry 4. developed a sort of code for living, which is embodied in the lives and beliefs of five or six persons in The Forest Path. This ''code11 solved to a great extent the problem of identity which constantly pursued him throughout his life. In sum, one had to be generous, compassionate and humble; he must by physically able to withstand the elements of nature and almost completely independent of the rest of the human race. But most important, he must respect the privacy of others, taking care not to interfere or to force his will upon anyone else. In order to maintain these qualities, it was necessary to lead as simple a life as possible, and to develop an acute awareness and concern for all aspects of natur�:;. Such a way of life was impractical and idealistic, particularly in respect to isolating oneself from humanity; but it worked for him, because of his problem with alcohol, if only for a time. Unfortunately, he chose to ignore his own good advice, so painfully reached, knowing that a re­ turn to alcohol--and to the "outer world"--meant a return to the path of self-de.struction. The fact of his final choice, if indeed Lowry actually had a choice at this point in his life, makes Under the Volcano his most representative book. When this novel is examined apart from the other two, it appears almost as a rationale for the right of a man to destroy himsel f without interference from the rest of the world. Geoffrey Firmin, the Consul, spends the last day of 5. his life trying to understand the nature of his relationship to the world around him; he rejects help and he rejects life, 1 ending by choosing "Hell .••because, 11 he says, nr like it." Under the Volcano grew out of a short story which Lowry wrote in Cuernavaca, Mexico, in about 1936. The action of the original story consists mainly of a bus ride from the small Mexican town of Quauhnahuac, Mexico, to the neighbor­ ing town of Tomalin. There are three main characters: a British Consul, his daughter Yvonne and her husband, Hugh. The Consul, an alcoholic, suffers from a hangover, and has convinced himself he has "sworn off" as the story begins. Half way to Tomalin, the bus stops in the open country; what is at first taken to be a man sleeping in the sun turns out to be an Indian, robbed and left dying with a wound in his head. Beside him is his horse, its saddle bags now empty. The passengers on the bus refuse to become involved in any way with the dying man; they think of every possible reason for not touching him: there are no phones in working order, no doctors available anyway, the police are on strike, and so on. Yvonne cannot stand the sight of blood, and flees back to the bus. The Consul tells Hugh that if they should touch this man, they would in fact be considered "accomplices" to the crime. While they debate, a man who is either drunk l Malcolm Lowry, Under the Volcano, (New York, 1958),p.316. Further references will appear in the text. 6. or drugged, steals some money which the dying man has hidden under his collar; he later pays his bus fare with these blood­ stained coins. The em otional strain is too much' for the Con­ sul, and he realizes that he will drink again at the earliest opportunity. When the bus reaches Tomalin, the three charac­ ters are stopped by the sight of an old lame Indian carrying another one on his back, an obvious reminder of their guilt at leaving the Indian to die alone by the roadside; for as feeble as he is, the old man is able to perform some service for one in worse circumstances than he. The author has taken the central incident of this short story, that of the dying Indian, and made it the focal point of his novel; around it he has developed each of his four main themes. Isolated from its maze of symbols, the plot of the novel is fairly simple, although Lowry attached great importance to details.
Load more

Recommended publications
  • THE DESCENT INTO HELL of JACQUES LARUELLE Chapter I of " Under the Volcano"
    THE DESCENT INTO HELL OF JACQUES LARUELLE Chapter I of " Under the Volcano" David Falk 1IT IS HARDLY NEWS that Malcolm Lowry's Under the Vol- cano is a profoundly autobiographical work, but worth stressing is the extent to which the novel was prompted by a desire, not for self-discovery, but for self- mastery. The writing of the novel was meant to provide Lowry with the neces- sary psychic distance from what he called the "forces in man which cause him to be terrified of himself"1 so that he would not succumb to them. By projecting these forces from within the self into the novel, Lowry hoped to transform them permanently into fiction : to confine them between the covers of his work so that they could no longer function as a real force in his life. The process is most obvious with Geoffrey Firmin, whom Lowry described as composed of "self 4- bad guilty imagination."2 The Consul is the nexus for what was most self-despairing and self-destructive in Lowry. As the Consul's story, Under the Volcano tells of his capitulation before the terrifying forces within, and tells us in such a way that this defeat is a given. For Chapter I is set on the anniversary of the Consul's death so that what we witness in the eleven ensuing chapters is the unfolding of a fate we know already to be sealed. The inescapability of the Consul's doom contributes heavily to its tragic weight and makes him the towering figure he is.
    [Show full text]
  • Malcolm Lowry: a Study of the Sea Metaphor in "Ultramarine" and "Under the Volcano"
    University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1967 Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano". Bernadette Wild University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Wild, Bernadette, "Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano"." (1967). Electronic Theses and Dissertations. 6505. https://scholar.uwindsor.ca/etd/6505 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. MALCOLM LOWRY: A STUDY OF THE SEA METAPHOR IN ULTRAMARINE AND UNDER THE VOLCANO BY SISTER BERNADETTE WILD A T hesis Submitted to the Faculty of Graduate Studies through the Department of English in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Windsor Windsor, Ontario 1967 Reproduced with permission of the copyright owner.
    [Show full text]
  • Malcolm Lowry: the Russian Dimension
    ‘Under the Volcano’, 70 Years On International Conference, Liverpool John Moores University and Bluecoat, Liverpool, 28th-29th July 2017. Malcolm Lowry: The Russian Dimension Nigel H. Foxcroft University of Brighton Introduction This interdisciplinary paper on the English modernist novelist and poet, Malcolm Lowry (1909—57) is designed to provide a framework for reassessing his works and for evaluating his contribution to the international dimensions of modernism and surrealism. His literary achievements bear testament to his profound insight into the inter-connectedness of East— West cultures and civilizations, both ancient and modern. They also reveal his innovative perception of literature as a means of intensifying our consciousness of interdependence on our environment. His masterpiece, Under the Volcano (1947) constitutes a Faustian representation of a British ex-Consul to Mexico, tormented by the inner turmoil of his split self. We are bestowed with vivid, multi-coloured images emblazoned on the surrealist backdrop of a socio-political milieu which has alienated the Consul from a world at war with itself. Delving into the wisdoms of old knowledge, Geoffrey Firmin—a truly Romantic visionary—strives to preserve these ancient gifts by attaining a higher state of intuitive consciousness. By selecting a painful, shamanic path to exorcise the phantoms of his past, he embarks upon an odyssey into his psychogeographic, cinematic imagination. In so doing, he makes profound, psychological parallels between contemporary, international events afflicting humanity and the spiritual depths of his subconscious mind. In pursuing a reconciliation with his daemons, he confronts—as did Lowry himself—the titans of the Golden Age of Russian literature, as he strides towards and, indeed, through the threshold of a revolutionary era.
    [Show full text]
  • Malcolm Lowry and the Cinema
    MALCOLM LOWRY AND THE CINEMA Paul G. Tiessen LIOWRY'S THOROUGH KNOWLEDGE and appreciation of cine- matic technique came from his sustained, intense interest in the world of the film, a world in which he participated as viewer, critic and writer. His own words express best his ardent enthusiasm as a viewer, even while he was living outside the urban area of Vancouver: I think I have seen nearly all the great German films, since the days of Caligari, some of them many times, risking my neck even when at school (where movies were forbidden) to see ... Conrad Veidt in The Student of Prague, and Murnau's wonderful things, all the films of the great Ufa days, and other later masterpieces. ... and it is an enthusiasm that has not deserted me, for only recently we [Lowry and his wife Margerie] have trekked through the snow, (still risking our neck — physically on these occasions because of the ice) just to keep up with the times, to see Murnau's Last Laugh, Fritz Lang's Destiny (a pioneer piece if there ever was one) and other contemporary films and Klangfilms at the local Vancouver Film Society.1 This exuberant reaction to the great German films had already been expressed in Chapter One of Under the Volcano, where M. Laruelle, a former film direc- tor, nostalgically recalling his past, reflects Lowry's personal interest in the old days of the cinema.... his own delayed student days, the days of the Student of Prague, and Wiene and Werner Krauss and Karl Gruene, the Ufa days when a defeated Germany was winning the respect of the cultured world by the pictures she was making.
    [Show full text]
  • University of British Columbia. Library, Collector
    MALCOLM LOWR Y 1909-195 7 AN INVENTORY TO THE MALCOLM LOWRY MANUSCRIPT COLLECTION S I N THE LIBRARY OF THE UNIVERSITY OF BRITISH COLUMIBA SPECIAL COLLECTIONS DIVISIO N PREPARED BY : JUDITH O . COMBS, 197 .3 REVISED BY : CYNTHIA SUGARS, 1985 1 INTRODUCTIO N Clarence Malcolm Lowry, the fourth son of a Liverpool cotto n broker, was born on July 28th, 1909, in Birkenhead, Cheshire , England . Lowry's writing career began early . As a young man a t The Leys Public School, he wrote short stories and'articles fo r The Leys Fortnightly and, by the age of twenty-four, he ha d published his first novel, Ultramarine . After six months aboard the S .S . Pyrrhus as a deck-hand , the experience upon which Ultramarine is based, Lowry travelle d to the United States to visit the American writer Conrad Aiken , the man who was later to become not only Lowry ' s guardian bu t also one of his closest friends . In 1933, a year after graduatin g from Cambridge University with a B .A ., Lowry met his first wife , Jan Gabrial, with whom he moved to Cuernavaca, Mexico in 1936 . It was in Cuernavaca that Lowry began work on his major novel , UndertheVolcano, which was to take him more than ten years t o complete . In 1940, with his second wife, Margerie Bonner, Lowry move d to Dollarton, British Columbia, where he lived for the nex t fourteen years . During this period, Malcolm continued to wor k on Under the Volcano and, despite numerous set-backs, includin g the destruction of their shack by fire in 1944, the novel wa s finally published in 1947 .
    [Show full text]
  • Rhizomes 31 * James Mcadams * David Markson's Postmodern
    Rhizomes: Cultural Studies in Emerging Knowledge Issue 31 (2017) » https://doi.org/10.20415/rhiz/031.e07 David Markson’s Postmodern Turn: Wittgenstein’s Mistress and “Minor Literature” James McAdams “Was it really some other person I was so anxious to discover, when I did all of that looking, or was it only my own solitude that I could not abide?” (Wittgenstein’s Mistress 31, 134; emphasis added) [1] David Markson’s para-millennial novels, or, in Tyler Malone’s phrase, “the notecard quartet,”[1] represented by Reader’s Block (1996), This is Not a Novel (2001), Vanishing Point (2004), and The Last Novel (2007), are notable for their stylistic idiosyncrasies and postmodern characteristics, including pastiche, indeterminacy, and metafictive reflections. His previous novels, among them The Ballad of Dingus Magee (1965), Going Down (1975), and Springer’s Progress (1977), exhibit little to no associations with postmodernism—aside from fragmentation and intertextuality, which Markson uses throughout his career and can be claimed by both modernist and postmodernist traditions—instead embracing the aesthetics of modernism, extending the legacy of Joyce, Gaddis, and Markson’s mentor, Malcolm Lowry. Thus, the novels Markson’s published over the last two decades of his life exhibit a decisive break with his previous efforts, allowing him to explore what he depicts as a peculiarly contemporary anxiety and loneliness. Reflecting on a mad world requires “mad” language, or what Deleuze and Guattari describe as a “deterritorialized” language, one which celebrates the fluid and schizoid characters who rebel against the “logic of late capitalism,” in Frederic Jameson’s famous phrase.
    [Show full text]
  • Gabriel Figueroa---Art and Film CHECKLIST
    ^ Under the Mexican sky: Gabriel Figueroa---art and film CHECKLIST Manuel Ramos Landscape, 1920s Gelatin silver print 5 × 7 in. (12.7 × 17.78 cm) Fundación Televisa Manuel Ramos Landscape, 1920s Gelatin silver print 5 x 7 in. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Mountainous Landscape with Clouds, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Patzcuaro Lake, Michoacan, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Landscape, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Fernando Sosa; Enrique Díaz Álbum Fiestas del centenario de la consumación de la Independencia de México, 1921 Book Fundación Televisa Colección Horacio Quiroga Fernando Sosa; Enrique Díaz Álbum Fiestas del centenario de la consumación de la Independencia de México, 1921 Book Fundación Televisa Colección Horacio Quiroga Manuel Ramos Ixtachihuatl and Popocatepetl views from the top of Chiquihuite, Cordiller de Guadelupe, 1923 Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Diego Rivera Flower Day (Día de Flores), 1925 Oil on canvas 58 x 47 1/2 in. (147.32 x 120.65 cm) Los Angeles County Museum of Art Los Angeles County Fund Edward Weston; Tina Modotti Images of The Rural Teacher, one of the Diego Rivera murals painted on the building of the Ministry of Public Education in Mexico City, 1926 Gelatin silver print 8 x 10 in. Fundación Televisa Colección Particular Edward Weston Pulqueria, Mexico D.F., 1926 Gelatin-silver print 7 1/2 x 9 1/2 in.
    [Show full text]
  • Film REI/IEUJS
    Film REI/IEUJS Donald Briiiain \ Volcano d: Donald Brittain, sc: Donald Brittain, narr: Brittain, words of Malcolm Lowry spoken by Richard Burton, ph: Douglas Kiefer, ed: John Kramer, sd. ed.: Les Hal- man, sd. rec.: James McCarthy, m: Alain Clavier, jazz arrang: Arts Phillips, exec, p: James de B. Domville, p.c: National Film Board of Canada, 1976, 16mm, color, running time: 100 minutes, dist: N.F.B. Every couple of years, the Na­ tional Film Board turns out a film of such magnitude that it makes one believe that despite the waste and ineptitude, the place is worth it. Every couple of years, Donald Brit­ tain gets his considerable talent or­ ganized behind a project he can relate desolation not without its hope. He literature which goes well beyond the to and produces a film of outstanding begins the book with a quote from cops and robbers level which film power. Such a film is Volcano, the Sophocles, "Wonders are many, and handles so well. How do you find vis­ flesh-and-blood portrait of a man none is more wonderful than man..." ual analogies for the words of Ulys-. possessed. At the age of 27, Lowry had settled ses or Finnegans Wake? How do you "I sometimes think of myself as a in Cuernavaca, Mexico. He had come take something whose power lies in great explorer who has discovered out of a restrictive, upper-class one medium and translate it into some extraordinary land from which British background, somewhat of a something as intransigent as film? he can never return to give his playboy.
    [Show full text]
  • Malcolm Lowry's Poetics of Space
    AND MIGUEL MOTA LANE EDITED BY RICHARD J. Malcolm Lowry’s Poetics of Space offers new and controversial readings that seek to readdress Lowry’s masterpiece Under the Volcano and many of his MALCOLM Lowry’S other writings. With contributions by international Lowry scholars, the collection focuses on Lowry’s spatial dynamics and engages with the P notion of Lowry as a multi-media artist who influenced and was deeply OETICS influenced by a broad range of modernist and postmodernist aesthetic practices. OF Space Acutely aware of the world of film and deeply immersed in a vast range of literary traditions and the avant-garde, Lowry worked within an inter- textual space that transgressed aesthetic boundaries. Malcolm Lowry’s Poetics of Space offers a new approach to the author’s life and work that EDITED BY RICHARD J. LANE AND MIGUEL MOTA will undoubtedly inspire a fresh debate. MALCOLM LOWRY’S POETICS OF SPACE MALCOLM LOWRY’S Richard J. Lane is Professor of English at Vancouver Island University, BC. He directs the Seminar for Advanced Studies in the Humanities and the Literary Theory Research Group at VIU, where he is also the principal investigator of the MeTA Digital Humanities Lab. Lane is also a director of Innovation Island Technology Association, as well as an Associated Researcher at The Electronic Textual Cultures Lab at the University of Victoria. Miguel Mota is Associate Professor of English at the University of British Columbia in Vancouver, BC. In addition to his work on Lowry, Mota has published in the areas of contemporary British literature and culture and on the relationship between literature and film, including articles on Jeanette Winterson, John King, Mike Leigh, Derek Jarman, and Peter Greenaway.
    [Show full text]
  • The Tyranny of Words Malcolm Lowry's Tender Is the Night
    Miguel Mota The Tyranny of Words Malcolm Lowry's Tender Is the Night When in 1949, in Dollarton, British Columbia, Malcolm Lowry turned from the novels and short stories he had in progress to work with his wife Margerie on a nlmscript, the massive project that sud- denly inspired him became central to his career as a writer and essential in his struggle for personal spiritual redemption.1 What began as a brief treat- ment grew by the spring of 1950 into a 455-page typescript adaptation of E Scott Fitzgerald's Tender Is the Night.1 "We have become possessed by Tender Is the Night," Lowry wrote in a September 1949 letter to his contact in Hollywood, Frank Taylor, "... I myself have never felt so creatively exhila- rated since writing the better parts of the Volcano" (Cinema 19). Though the Lowry filmscript retains many of the characters and some of the situations of Fitzgerald's story, it nonetheless differs markedly from it. Among numer- ous re-writings, there are lengthy, completely original sections dealing with Dick Diver in New York and on a mercantile ship to Europe, a dramatically revised ending, and an overall Expressionist filmic aesthetic that aligns the script much more with Lowry's other writings than with Fitzgerald's novel. Lowry's manuscript was the only major piece of writing that he completed after Under the Volcano (1947); yet until its recent publication it remained a relatively obscure, eccentric document.3 Even a recent reviewer of the pub- lished script, though generally praising the screenplay, nevertheless suggests that Lowry undertook the task of adapting Fitzgerald's novel as a way of avoiding his own writing (Binns 37).
    [Show full text]
  • The Making Op Under the Volcano; A¥
    THE MAKING OP UNDER THE VOLCANO; A¥. EXAMINATION - OF LYRICAL. STRUCTURE, WITH REFERENCE TO TEXTUAL REVISIONS by CARELL JOHNSON B.A., University of British. Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada Date April 2, 1969 ABSTRACT The aim of this thesis is to investigate how Lowry expanded Undft-n thft Vnlnann beyond the narrative level and yet also managed to infuse this dense, expanded structure with an organic unity. Passages from the earlier drafts of the novel have been juxtaposed with the printed ver• sion in order to reveal salient aspects of method and purpose in the novel's compositon. Chapter I attempts to demonstrate that Un^lejL_ihje. Volcano is essentially a lyrical novel and discusses the background and aims of this twentieth century genre. What chiefly distinguishes the lyrical from the non- lyrical novel is that it transcends chronological time, to some degree, and presents a spatial pattern.
    [Show full text]
  • Malcolm Lowry's "Under the Volcano": a Critical Reception Study
    University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 8-13-1966 Malcolm Lowry's "Under the Volcano": A critical reception study. Paul J. Black University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Black, Paul J., "Malcolm Lowry's "Under the Volcano": A critical reception study." (1966). Electronic Theses and Dissertations. 6415. https://scholar.uwindsor.ca/etd/6415 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. NOTE TO USERS Page(s) not included in the original manuscript and are unavailable from the author or university. The manuscript was scanned as received. 42 This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MALCOLM LOWRY’S UNDER THE VOLCANO ; A CRITICAL RECEPTION STUDY BY PAUL J.
    [Show full text]