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self-entrapment and death, Patrick McCarthy has recently shown how theConsul in Under the Volcano fears the completion of writing because it willsignify his loss of control over the self-identity that is constructed within it(45). 8 This certainly accounts for the Consul's refusal to rest on any one ofthe series of provisionally held rhetorical postures within which he lives.Undoubtedly, Lowry himself dreaded the same loss of control. But if on theone hand he celebrated language's open-endedness, even its indeterminacy,as a way of avoiding closure and thus subjection, on the other hand Lowry,who sought to write himself in and through his writings, simultaneouslyfeared the destabilizing, the loss of grounding, of self that such indeterminacywould inevitably effect. 9 Though words were Lowry's necessary toolsin the process of his self-making, those same words would nonethelessthreaten the self's control and authority as the author became subjected byand to language. Thus, while Lowry at times celebrated the open-endednessof language, he also feared for the self caught in language and defined alongwith everything else as a component in the discursive field. In 1949, in hisand Margerie's shack at Dollarton, mired in the composition of Dark as theGrave Wherein My Friend Is Laid, a kind of gloss on the writing of Under theVolcano and a text which would come to illustrate the inherent difficulties inthe notion of "man as novelist of himself," Lowry turned to the filmscript ofTender Is the Night./\mong his examples of methods available to writers intheir search for voice, O'Kill cites what he calls a "style of transcription."This he defines as "using language which is, or professes to be, objective... .[The writer] can do this by putting into his work apparent transcriptions ofexternal reality—the language of public notices, signposts, menus, advertisementhoardings" (181). 10 By the time Lowry began working on Tender Isthe Night, he had already made use of signs, posters and advertisements inhis writing, most notably in Under the Volcano, and would do so again inOctober Ferry to Gabriola." In the filmscript, he contextualizes and justifiesthe use of such graphics and insists on their effectiveness on numerous levels."Cinematically speaking we might indeed here be right back in thephantasmagoric world of Murnau," Lowry writes of his use of signs. In thefilmscript, as in Lowry's other work, these graphics include words themselves.But because the envisioned final product in this case is a film, thesewords take on a peculiarly significant status.
LowryAccording to Lowry's view of his own work, no part of the project wasinessential to its intricately planned structure. It is possible to make a distinction,though, between writing which appears intended as background(though still significant) material, perhaps to remain unnoticed by themajority of viewers, and writing which is clearly foregrounded. Many of thereferences in the script to film titles, to names of plays on theatre marquees,to road signs, etc., fall into the former category. At times, however, Lowrypositions words on the screen so that it is impossible to miss their physicalpresence. There are numerous instances throughout the script of such useof the written word. When, for example, we first see, through Dick's memory,Dr. Dohmler's sanatorium in Zurich where Nicole has been brought byher sister Baby, the script dramatizes Nicole's condition through the use ofwords on a written report:The camera starts forward to focus on the report, and we see what is written,small, but coming closer and larger as we move in. First we see it as overDohmler's shoulder, written in Gothic German handwriting. Before we havegrasped this it has turned to French as we move up towards it:Diagnostic: Schizophrénie. Phase aiguë en décroissance.Before we have read even this much it has changed into English so that by thetime we have come up to it we can read it clearly:Diagnosis: Divided Personality. Acute and downhill phase of the illness.The fear...The other words are blurred and while we are reading, the words DividedPersonality have changed into the one word Schizophrenia, their anglo-Greekand more terrifying counterpart. The other words all drop away, and on thescreen, surcharged with horror and menace, accentuated by music, and comingstraight out of the screen at us, the one word:SCHIZOPHRENIA {Cinema 93; UBC 144)Clearly here the words themselves are meant to overwhelm the viewer'sconsciousness.Similarly, in the script's long New York sequence, the electric headlinesthat rotate round the top of the Times Building provide Lowry with countlessopportunities to emphasize the materiality of words. The screenbecomes engulfed by contemporary headlines which, as Dick watches,inevitably begin to act strangely:IDEOLOGICAL DIFFERENCES MAY . . . (the news can't make up its mind, addsincongruously) OSWEGO NEW BRUNSWICK . . . OUTBREAKS OF ... It is standinglike this when Dick looks up from his newspaper; everything suddenly blacksout save the ID of ideological at the very beginning and the EGO of Oswego; then,for a few seconds, either the Times Building goes mad or Dick has a delusion:
Page 1 and 2: A Quarterly of Criticism and Review
Page 3 and 4: Editorialand cultural cliché. Both
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