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The 1940 Under the Volcano-hidden for too long in the shadows of
Lowry's 1947 masterpiece-differs from the latter in significant
ways. It is a bridge between Lowry's 1930s fiction (especially In
Ballast to the White Sea) and the 1947 Under the Volcano itself.
Joining the recently published Swinging the Maelstrom and In
Ballast to the White Sea, The 1940 Under the Volcano takes its
rightful place as part of Lowry's exciting 1930s/early-40s trilogy.
Scholars have only recently begun to pay systematic attention to
convergences and divergences between this earlier work and the 1947
version. Miguel Mota and Paul Tiessen's insightful introduction,
together with extensive annotations by Chris Ackerley and David
Large, reveal the depth and breadth of Lowry's complex vision for
his work. This critical edition fleshes out our sense of the
enormous achievement by this twentieth-century modernist.
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 spatialpoetic 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unpublished essays by both established and new international Lowry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.
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