Geoffrey Firmin, a former British consul, has come to Quauhnahuac, Mexico. His debilitating malaise is drinking, an activity that has overshadowed his life. On the most fateful day of the consul's life--the Day of the Dead, 1938--his wife, Yvonne, arrives in Quauhnahuac, inspired by a vision of life together away from Mexico and the circumstances that have driven their relationship to the brink of collapse. She is determined to rescue Firmin and their failing marriage, but her mission is further complicated by the presence of Hugh, the consul's half brother, and Jacques, a childhood friend. The events of this one significant day unfold against an unforgettable backdrop of a Mexico at once magical and diabolical. Under the Volcano remains one of literature's most powerful and lyrical statements on the human condition, and a brilliant portrayal of one man's constant struggle against the elemental forces that threaten to destroy him.

Although Malcolm Lowry (1909-1957) published only two novels--Ultramarine and Under the Volcano--in his lifetime, numerous other works, most of which have since been edited for publication, were in various stages of composition at his death. La Mordida, the longest and most significant of the manuscripts that have not been previously published, is a draft of a novel based on Lowry's visit to Mexico in 1945-46, which ended in the arrest and deportation of Lowry and his wife following a nightmarish run-in with corrupt immigration authorities. On its most immediate level, the title La Mordida--which means "the little bite," Mexican slang for the small bribe that officials are apt to demand in order to expedite matters--refers to the autobiographical protagonist's legal difficulties. In a larger sense, however, it also represents his inability to escape his past, to repay the fine, or debt, that he owes. The central narrative of La Mordida involves a descent into the abyss of self, culminating in the protagonist's symbolic rebirth at the book's end. Lowry planned to use this basic narrative pattern as the springboard for innumerable questions about such concerns as art, identity, the nature of existence, political issues, and alcoholism. Above all, La Mordida was to have been a metafictional work about an author who sees no point in living events if he cannot write about them and who is not only unable to write but suspects that he is just a character in a novel. A reading of La Mordida in the context of Lowry's aesthetic theories and psychological problems shows why he dreaded the completion of his projects to such an extent that he called success a "horrible disaster" and compared death to "the accepted manuscript of one's life." The reason, La Mordida makes clear, lies partly in the aesthetic theories that led Lowry to attempt a book that he prophetically called "something never dreamed of before, a work of art so beyond conception it could not be written." Patrick A. McCarthy's edition of La Mordida is based on materials held in the Malcolm Lowry Archive at the University of British Columbia. Its publication provides essential evidence for a balanced assessment of Lowry's creative processes and his achievement as a writer.

Malcolm Lowry was the troubled author of Under the Volcano (1947), a brilliant novel about the last day of an alcoholic former British consul on the Mexican Day of the Dead, the manuscript of which Lowry rescued from the flames when his fisherman's shack burned down in 1944. Lowry's other books were not always so lucky: his first novel, Ultramarine (1930), was stolen after four years' composition and resurrected from a carbon copy; another manuscript, In Ballast to the White Sea, was destroyed in the 1944 fire. An early draft of In Ballast was discovered this century and published in 2014. Lowry's life, like his work, was often lost to chaos; Gordon Bowker's 1994 biography is a masterful account of a life spent adrift.

A NEW YORK REVIEW BOOKS ORIGINAL Notorious for a misspent life full of binges, blackouts, and unimaginable bad luck, Malcolm Lowry managed, against every odd, to complete and publish two novels, one of them, Under the Volcano, an indisputable masterpiece. At the time of his death in 1957, Lowry also left behind a great deal of uncollected and unpublished writing: stories, novellas, drafts of novels and revisions of drafts of novels (Lowry was a tireless revisiter and reviser—and interrupter—of his work), long, impassioned, haunting, beautiful letters overflowing with wordplay and lament, fraught short poems that display a sozzled off-the-cuff inspiration all Lowry’s own. Over the years these writings have appeared in various volumes, all long out of print. Here, in The Voyage That Never Ends, the poet, translator, and critic Michael Hofmann has drawn on all this scattered and inaccessible material to assemble the first book that reflects the full range of Lowry’s extraordinary and singular achievement. The result is a revelation. In the letters—acknowledged to be among modern literature’s greatest—we encounter a character who was, as contemporaries attested, as spellbinding and lovable as he was self-destructive and infuriating. In the late fiction—the long story “Through the Panama,” sections of unfinished novels such as Dark as the Grave Wherein My Friend Is Laid, and the little-known La Mordida—we discover a writer who is blazing a path into the unknown and, as he goes, improvising a whole new kind of writing. Lowry had set out to produce a great novel, something to top Under the Volcano, a multivolume epic and intimate tale of purgatorial suffering and ultimate redemption (called, among other things, “The Voyage That Never Ends”). That book was never to be. What he produced instead was an unprecedented and prophetic blend of fact and fiction, confession and confusion, essay and free play, that looks forward to the work of writers as different as Norman Mailer and William Gass, but is like nothing else. Almost in spite of himself, Lowry succeeded in transforming his disastrous life into an exhilarating art of disaster. The Voyage That Never Ends is a new and indispensable entry into the world of one of the masters of modern literature.

Seven stories and novellas by the author of Under the Volcano, a master of twentieth-century fiction. For fans of the novel Under the Volcano, this collection of stories—many of them published for the first time posthumously—provides great insight into the author’s genius. The stories range from heartfelt tragedy to exuberant triumph. In the novella “Through the Panama,” a burned-out, alcoholic writer tries to make sense of the literature that has kept him afloat while the pulse of his life grows harder to distinguish. In “The Forest Path to Spring,” a couple that has survived hell finds new life in the seclusion of a vast forest. And in “The Bravest Boat,” a young boy sends a message across the ocean to an unknown recipient. Together, these stories reveal a writer who traveled widely, observed keenly, and maintained an engrossing literary style that still reverberates today.