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To a remarkable extent the filmscript of Tender is theNight, which Malcolm Lowry wrote in 1949-50 with the help ofMargerie Bonner Lowry, is less an adaptation of F. ScottFitzgerald's novel than an extension of Lowry's own fiction. AsMiguel Mota and Paul Tiessen show, Malcolm Lowry's script containsimportant passages which are really "cinematic" restatementsof parts of Lowry's novel Lunar Caustic, and of shortstories such as "Through the Panama" and "StrangeComfort Afforded by the Profession." The editors note also the many direct and indirect allusions toelements 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 closestudy of the text reveals that Lowry took on the Tender is the Nightproject partly as a means of reopening his Under the Volcanonarrative, of re-exploring its plot and problems and its characters andthemes, 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 alsoas a text having a direct bearing on Lowry's own reading ofUnder the Volcano and of his sense of artistic direction afterthat work. Indeed, the editors consider the significance of thefilmscript as a key - hitherto almost entirely overlooked - tounderstanding his projected multiple volume work, The Voyage ThatNever Ends. This scholarly edition of Lowry's script presents 38 passages ofvarying length - from less than one page to over 100 pages - in whichLowry writes with a freedom and creativity that lead to a textnarratively and stylistically quite separate and distinct fromFitzgerald's original. It excludes passages where Lowry adheresmore or less slavishly, at 37 intervals, to Fitzgeralds' novel,though it provides brief narrative summaries of and comments on thoseomitted sections. Lowry's achievement in his filmscript demonstrates the nature ofhis life-long commitment to and extensive knowledge of theinternational cinema from the 1910s to the 1950s and also the nature ofhis view of the novelist's responsibility to participate in thedevelopment of film as an art. The script also illustrates Lowry's relationship with F. ScottFitzgerald as one in a series of literary kinships, and as the editorspoint out, the work becomes a criticism and analysis of bothFitzgerald's novel and of Fitzgerald himself.
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.
Geoffrey Firmin, a former British consul, has come to Quauhnahuac, Mexico. His debilitating malaise is drinking, an activity that has overshadowed his life. On the most fateful day of the consul's life--the Day of the Dead, 1938--his wife, Yvonne, arrives in Quauhnahuac, inspired by a vision of life together away from Mexico and the circumstances that have driven their relationship to the brink of collapse. She is determined to rescue Firmin and their failing marriage, but her mission is further complicated by the presence of Hugh, the consul's half brother, and Jacques, a childhood friend. The events of this one significant day unfold against an unforgettable backdrop of a Mexico at once magical and diabolical. Under the Volcano remains one of literature's most powerful and lyrical statements on the human condition, and a brilliant portrayal of one man's constant struggle against the elemental forces that threaten to destroy him.
The author of four truly important novels--The Recognitions in 1955, J R in 1975, Carpenter's Gothic in 1985, and A Frolic of His Own in 1995--William Gaddis is considered by many literary scholars to be one of the most outstanding novelists of the twentieth century, to be spoken of in the same breath as James Joyce, Robert Musil, and Thomas Pynchon. Hints and Guesses: William Gaddis's Fiction of Longing is the first scholarly work to discuss all four Gaddis novels. While not dismissing the inclination of many scholars to view Gaddis's fiction as postmodern, Christopher Knight moves critical response in another direction, toward a discussion of Gaddis's significance as a satirist and social critic. Knight investigates Gaddis's predominant thematic interests, including those of contemporary aesthetics, Flemish painting, forgery, corporate America, Third World politics, and the U.S. legal system. What Knight finds is an author not only acutely sensitive to post-war social realities but also one whose critique carries with it an implied utopian dimension.
This collection focuses on Lowry’s spatial dynamics, from the psychogeography of the Letterist and the Situationist International, through musical forms (especially jazz), cinema, photography, and spatial poetic writing, to the spaces of exception, bio-politics, and the creaturely. It presents previously unpublished essays by both established and new international Lowry scholars, as well as innovative ways of conceiving of his aesthetic practice. In each of the book’s three sections, critics engage in the notion of Lowry as a multi-media artist who influenced and was deeply influenced by a broad range of modernist and early postmodernist aesthetic practices. Acutely aware of and engaged in the world of film, sensitive to the role of the graphical surface in advertising and propaganda, and deeply immersed in a vast range of literary traditions and the avant-garde, Lowry worked within an intertextual space that is also a mediascape, one which tends to transgress, or at least exceed, neatly controlled borders or aesthetic boundaries. These new approaches to Lowry’s life and work, which make use of new and recent theoretical perspectives, will encourage fresh debate around Lowry’s writing. Publié en anglais.
An item-by-item discussion of the innumerable, often obscure details of Malcolm Lowry's novel, this book comprises 1,600 notes covering some 7,000 specific points. The notes are keyed to page numbers in the Penguin paperback and the two standard hardback editions. The appendices include a glossary, bibliography, maps of the region, and an index of motifs. In their comprehensive but unpedantic commentary on the novel's complexities, the authors' emphasis is on the narrative level. All points of obscurity are followed by an interpretation of fact. Thus references are noted to films, books, places, foreign languages, and national and tribal histories. Special attention is given to the literary, mystical, and Mexican background.
The Kaleidoscopic Vision of Malcolm Lowry: Souls and Shamans is an interdisciplinary investigation of the multifaceted, intuitive insight of international modernist writer Malcolm Lowry through an analysis of a selection of works and correspondence. Nigel H. Foxcroft analyzes his psychogeographic perception of the interconnectedness of East-West cultures and civilizations in terms of pre-Columbian Mesoamerican customs; the Mexican Day of the Dead festival; the Atlantis myth; surrealism; and Russian literary, filmic, and political influences. He traces his intellectual efforts in pursuing philosophical and cosmic knowledge to bridge the gap between the natural sciences and the humanities. This monograph identifies Lowry’s attempts to reintegrate modernism with primitivism in his quest for an elixir of life for the survival of humanity on the brink of global catastrophe, as indicated in In Ballast to the White Sea and Under the Volcano. It also examines his sustained endeavors to attain psychoanalytical atonement with himself and his environment in Ultramarine, Swinging the Maelstrom, “The Forest Path to the Spring,” and October Ferry to Gabriola. It also discusses the odyssey on which Lowry and his literary protagonists embark to connect with the past and to gain a deeper insight into human nature in Dark as the Grave Wherein My Friend is Laid, La Mordida, and “Through the Panama.” Scholars of cultural studies, history, humanities, Latin American studies, literature, and Russian studies will find this book particularly useful.
Gomery (The coming of sound to the American cinema, 1975; The Hollywood studio system, 1986) draws upon his earlier work and that of other scholars to address the broader social functions of the film industry, showing how Hollywood adapted its business policies to diversity and change within American society. Includes 31 bandw photographs. Paper edition (unseen), $15.95. Annotation copyrighted by Book News, Inc., Portland, OR