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While James Joyce was a central figure of high modernism, Malcom Lowry spoke for the next generation of modernist writers and, despite his denials, was almost certainly influenced by Joyce. Wherever the truth lies, there are correspondences and differences to be explored between Joyce and Lowry that are far more interesting than the question of direct influence. Despite numerous differences, their works have much in common: verbal richness, experimentation with narrative structure and perspective, a fascination with cultural and historical forces as well as with the process of artistic creation, and the inclusion of artist figures who are in varying degrees ironic self-portrayals. The contributors to Joyce/Lowry examine the relationship of these two expatriates writers, both to each other and to broader issues in the study of literary modernism and its aftermath. This collection embraces a variety of approaches. The volume begins with a consideration of Joyce and Lowry as practitioners of Expressionist art and concludes with an essay on John Huston's cinematic interpretation of works by both writers. In between are explorations of nationalism, anti-Semitism, syphilis, mental illness, and authorial design.
To a remarkable extent the filmscript of Tender is the Night, which Malcolm Lowry wrote in 1949-50 with the help of Margerie Bonner Lowry, is less an adaptation of F. Scott Fitzgerald's novel than an extension of Lowry's own fiction. As Miguel Mota and Paul Tiessen show, Malcolm Lowry's script contains important passages which are really "cinematic" restatements of parts of Lowry's novel Lunar Caustic, and of short stories such as "Through the Panama" and "Strange Comfort Afforded by the Profession." The editors note also the many direct and indirect allusions to elements from Lowry's master-work, Under the Volcano (1947), a novel that is regarded by many critics as one of the most "cinematic" prose works of the twentieth century. A close study of the text reveals that Lowry took on the Tender is the Night project partly as a means of reopening his Under the Volcano narrative, of re-exploring its plot and problems and its characters and themes, and of carrying as far as possible the "cinematic" style he had begun to examine in that work. Lowry's Tender is the Night manuscript is important, then, not only as a completed, 455-page text in its own right but also as a text having a direct bearing on Lowry's own reading of Under the Volcano and of his sense of artistic direction after that work. Indeed, the editors consider the significance of the filmscript as a key - hitherto almost entirely overlooked - to understanding his projected multiple volume work, The Voyage That Never Ends. This scholarly edition of Lowry's script presents 38 passages of varying length - from less than one page to over 100 pages - in which Lowry writes with a freedom and creativity that lead to a text narratively and stylistically quite separate and distinct from Fitzgerald's original. It excludes passages where Lowry adheres more or less slavishly, at 37 intervals, to Fitzgeralds' novel, though it provides brief narrative summaries of and comments on those omitted sections. Lowry's achievement in his filmscript demonstrates the nature of his life-long commitment to and extensive knowledge of the international cinema from the 1910s to the 1950s and also the nature of his view of the novelist's responsibility to participate in the development of film as an art. The script also illustrates Lowry's relationship with F. Scott Fitzgerald as one in a series of literary kinships, and as the editors point out, the work becomes a criticism and analysis of both Fitzgerald's novel and of Fitzgerald himself.
Swinging the Maelstrom is the story of a musician enduring existence in the Bellevue psychiatric hospital in New York. Written during his happiest and most fruitful years, this novella reveals the deep healing influence that the idyllic retreat at Dollarton had on Lowry. This long-overdue scholarly edition will allow scholars to engage in a genetic study of the text and reconstruct, step by step, the creative process that developed from a rather pessimistic and misanthropic vision of the world as a madhouse (The Last Address, 1936), via the apocalyptic metaphors of a world on the brink of Armageddon (The Last Address, 1939), to a world that, in spite of all its troubles, leaves room for self-irony and humanistic concern (Swinging the Maelstrom,1942–1944).
This is the first edition of In Ballast to the White Sea, the autobiographical novel by Malcolm Lowry, known to most only through the highly romanticized story of its loss in a fire. In fact, the typescript itself has probably been read by at most a dozen people since Lowry scholars learned that it was deposited at the New York Public Library.
The history of the Novel is a story of perpetual change, so that its identity still remains open to question. The sixteen articles in Reinventions of the Novel investigate connections, differences and similarities in the Novel around the world for the past three hundred years. Rather than searching for the essence of the genre, they look for the formal and thematic patterns on which the novel thrives, considering such matters as tradition and modernity, realism, rhetoric and identity, tableau and spatiality, and wondering whether epic and avant-garde are not quite contradictory terms. Close readings combined with historical overviews and theoretical discussions open up new constellations in the history of the novel. Untraditional cross-readings are made between Rabelais and Jens Peter Jacobsen and between Balzac and Nicholson Baker. Transformations of traditional modes of epic, biography and Bildung are traced as far as Georges Perec and Günter Grass, while canonical classics like Proust, Joyce, Richardson and Goethe are read in prosaic, pragmatic and media specific contexts. In the 1920s many people predicted the death of the novel; now more than ever it seems to be the dominant literary form – perhaps because it is the same, yet always different.
List of members in each vol. (except v. 2).
List of members in each vol. (except v. 2).
For over twenty-five years, the English Novel Explication series has been providing students and teachers of literature and reference librarians with a thorough, easy-to-use reference to interpretations of works by novelists from the United Kingdom.The explications cited in these volumes are interpretations of the significance and the meaning of the novels, and can range from discussions of theme, imagery, or symbolism to diction or structure. All critical stances, including post-structuralist, deconstructionist, and semiotic, are included.Quick access to the material is provided via integrated author/title indexes. Organization is alphabetical by novelist, with authors followed by an alphabetical list of their works and dates of publication. Explications are cited by last name of author, and include title and page references, while a complete list of books and periodicals indexed follows the text.