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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.
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.
In 1914, Wyndham Lewis and Ezra Pound-the founders of
vorticism-undertook an unprecedented analysis of the present, its
technologies, communication, politics, and architecture. The essays
in Counterblasting Canada trace the influence of vorticism on
Marshall McLuhan and Canadian Modernism. Building on the initial
accomplishment of the magazine Blast, McLuhan's subsequent
Counterblast, and the network of artistic and intellectual
relationships that flourished in Canadian vorticism, the
contributors offer groundbreaking examinations of postwar Canadian
literary culture, particularly the legacies of Sheila and Wilfred
Watson. Intended primarily for scholars of literature and
communications, Counterblasting Canada explores a crucial and
long-overlooked strand in Canadian cultural and literary history.
Contributors: Gregory Betts, Adam Hammond, Paul Hjartarson, Dean
Irvine, Elena Lamberti, Philip Monk, Linda M. Morra, Kristine
Smitka, Leon Surette, Paul Tiessen, Adam Welch, Darren Wershler.
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