
Under the Volcano
by Malcolm Lowry
380 pages· 2007· ISBN 9780141182254
About
Malcolm Lowry's Under The Volcano, first published in 1947, is quite simply one of the great novels of the 20th century. Semi-autobiographical, and taking place during the Mexican festival of the Day of the Dead in 1938, it recounts the last day in the life of the alcoholic ex-consul Geoffrey Firmin. Surrounded by the helpless presences of his ex-wife, his half-brother and acquaintances, he descends into a mescal-soaked purgatory, moving inexorably towards his tragic fate. His self-destructiveness reflects a spiritual struggle born of wilful abnegation and passivity, a depressed, existential acquiescence to the futility of positive action.
The story is simple, its manner of telling decidedly not: Lowry's style is dense, symbolic, allusive, the prose thick with resonance, and the structure complex, with flashbacks, abrupt shifts, and a gradual accumulation of information--it is a book that deserves reading and then rereading, for its pattern and subtleties reveal themselves only slowly. Firmin's story anchors the book's political ambience--the rise of Fascism and the tragedy of the Spanish Civil War lie heavily across its pages, and in turn make of Firmin not a character to be pitied but a representative figure of modernity. In this, Lowry's masterpiece has lost none of its power: it speaks to us of suffering and of loneliness, eliciting our compassion under the century's terrible shadow of mortality.
The story is simple, its manner of telling decidedly not: Lowry's style is dense, symbolic, allusive, the prose thick with resonance, and the structure complex, with flashbacks, abrupt shifts, and a gradual accumulation of information--it is a book that deserves reading and then rereading, for its pattern and subtleties reveal themselves only slowly. Firmin's story anchors the book's political ambience--the rise of Fascism and the tragedy of the Spanish Civil War lie heavily across its pages, and in turn make of Firmin not a character to be pitied but a representative figure of modernity. In this, Lowry's masterpiece has lost none of its power: it speaks to us of suffering and of loneliness, eliciting our compassion under the century's terrible shadow of mortality.
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