From “Malcolm Lowry: A Remininiscence,” the final chapter of David Markson’s Malcolm Lowry’s Volcano, a study of Under the Volcano:
His big books, however, would at the moment remain these: Moby-Dick, Blue Voyage, the Grieg, Madame Bovary, Conrad (particularly The Secret Agent), O’Neill, Kafka, much of Poe, Rimbaud, and of course Joyce and Shakespeare. The Enormous Room is a favorite, as is Nightwood. Kierkegaard and Swedenborg are the philosophers most mentioned, and in another area William James and Ouspensky. Also Strindberg, Gogol, Tolstoy.
Lifting a Maupassant from the shelf (nothing has been said of the man before this): “He is a better writer than you think.”
Consumable pseudocyclical time is spectacular time, both in the narrow sense as time spent consuming images and in the broader sense as image of the consumption of time. The time spent consuming images (images which in turn serve to publicize all the other commodities) is both the particular terrain where the spectacle’s mechanisms are most fully implemented and the general goal that those mechanisms present, the focus and epitome of all particular consumptions. Thus, the time that modern society is constantly seeking to “save” by increasing transportation speeds or using packaged soups ends up being spent by the average American in watching television three to six hours a day. As for the social image of the consumption of time, it is exclusively dominated by leisure time and vacations — moments portrayed, like all spectacular commodities, at a distance and as desirable by definition. These commodified moments are explicitly presented as moments of real life whose cyclical return we are supposed to look forward to. But all that is really happening is that the spectacle is displaying and reproducing itself at a higher level of intensity. What is presented as true life turns out to be merely a more truly spectacular life.
Guy Debord, section 153 of The Society of the Spectacle
Biblioklept 