Malcolm Lowry by Tony Bareham (auth.)

By Tony Bareham (auth.)

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The point is that nearly all his characters evince similar hypersensitivity to fate and coincidence. The very early Ultramarine is the only major Lowry fiction not to be dominated by this motif. This biographical sketch has suggested the growing dominance of alcohol. From Dana Hilliot onwards virtually every Lowry hero is a heavy drinker, to a greater or lesser degree threatened by his own alcohol dependence . While this may be because he could only ever write about hirnself, it needs to be said that, artistically, the drunken hero suits Lowry's style and method very weIl.

He is fearful of betraying Janet, but under urgent pressure, he feels, to prove his manhood to the rest of the crew - Andy in particular. A drunken evening becomes more and more confused, until Hilliot is incapable of sex at the critical moment. m. on the same Sunday, Norman's pigeon is lost overboard and Hilliot makes a half-hearted offer to risk the sharks in the harbour and save it. The offer is seen as a token of Hilliot's manhood, steels hirn to a final eclaircissement with Andy, and creates an understanding between them.

Yet another problem is his growing insistence that all his fiction belonged to a masterplan, to one grand oeuvre called, significantly, 'The Voyage That Never Ends'. There are several attempts in letters to explain this design to his publisher and agent. None of them are readily comprehensible. The end product is a mountain of manuscript, at bewilderingly differing stages of completion, and 20 Maleolm Lowry often bearing as much ostensible relationship to project A as to B or C which are going forward at the same time.

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