55 pages • 1 hour read
Malcolm LowryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide discusses depictions of addiction to alcohol and offensive language referencing Indigenous peoples, which feature in the source text.
While each chapter of Under the Volcano follows a different character and their thoughts, the Consul is the protagonist. He is the focus of the novel and each character’s actions and motivations directly relate to him and his addiction to alcohol. He is the center of the novel and his actions and words drive the plot forward as the characters head for the fateful climax. Much of his interior monologue focuses on his addiction to alcohol. Not only do his own thoughts lead him to find his next drink, but his “familiars,” the voices he hears, provide a judgmental yet enabling audience to his addiction. He cannot go long without a drink: “I have resisted temptation for two and a half minutes at least: my redemption is sure” (72). With his addiction controlling so much of his life, he finds it difficult to grow or change, falling into the same patterns as his addiction tightens its grip on him.
The Consul is portrayed as unreliable as a “narrator” and a character. During the chapters that focus on him, he is often drunk and at times blacks out, making it difficult for him to track his thoughts or make sense of the world around him. His unreliability further characterizes his addiction and demonstrates how his addiction skews his view of the people around him. His addiction has sparked an internal conflict as well, as he grapples with fighting to regain Yvonne’s trust in the face of his need to drink. This conflict boils up as he views Los Borrachones in Jacques’s bedroom:
Christ, oh pharos of the world, how, and with what blind faith, could one find one’s way back, fight one’s way back, now through the tumultuous horrors of five thousand shattering awakenings, each more frightful than the last, from a place where even love could not penetrate, and save in the thickest flames there was no courage? (211).
He recognizes his addiction in moments such as these and understands that he cannot continue down this path and repair his relationship with Yvonne. Yet the process of recovery is daunting, and he fails to fully commit. In the closing chapters of the novel, his addiction takes complete hold of him and prevents him from starting a new life with Yvonne.
Yvonne is largely defined in relation to the men in her life. She is the Consul’s ex-wife, Jacques’s former lover, and possibly Hugh’s love interest. She is a caring individual who is ready to sacrifice herself to lift up the men she loves. This commitment draws her back to Mexico, where she attempts to save the Consul. It is not the first time, however, that she has undertaken such an endeavor, having worked as an actress to financially support her delusional father. There are many similarities between the Consul and her father, and she relates to them in similar self-sacrificing ways. Neither man cares approves of what she does to support them or recognizes the work she puts in to ensure that they survive. She sees herself as a supporting character in her relationship with the Consul, as is suggested at the end of Chapter 9 when she, Hugh, and the Consul walk into the Salón Ofélia, passing two men on their way out:
Bent double, groaning with the weight, an old lame Indian was carrying on his back […] another poor Indian […] He carried the older man and his crutches, trembling in every limb under this weight of the past, he carried both their burdens (291).
Yvonne, like the old man, attempts to carry the Consul’s burdens as well as her own, and in this moment she sees her possible future if she fails.
Her commitment makes her a tragic figure, whose pure-hearted motivations lead not to a moral victory but to a crushing personal defeat. Her efforts to save the Consul ultimately lead to her death at the hooves of the branded horse. Her commitment to him is her undoing, her efforts to save him dooming herself.
Hugh is the half-brother of the Consul and acts as a foil to him. He is younger and more adventurous than his brother with an idealist political view of the world. Where his brother is listless and lost, Hugh is purposeful and dedicated. His role as a foil is further developed in his relationship with Yvonne, as the two quickly form a bond based on the Consul’s addiction to alcohol. Hugh is committed to following the Spanish Civil War and has sided with the Republicans in Spain, who wish to respect their democratically elected government. The differences between the Consul and Hugh are perhaps most prominent during the ordeal with the dying man found on the road. Hugh’s life has been one of adventure and heroism and he is ready for both in this moment before the Consul warns him against touching the man:
While as for him, the hero of the Soviet Republic and the True Church, what of him, old camarado, had he been found wanting? Not a bit of it. With the unerring instinct of all war correspondents with any first-aid training he had been only too ready to produce the wet blue bag, the lunar caustic, the camel’s hair brush (260).
Hugh is meant for the field, he places himself in danger, in the action, while his brother resigns himself to a life of performative diplomacy. The two brothers represent different ways to approach the modern world as it crumbles into chaos.
The differences that divide the brother exist beneath the surface as well, clearly defining their oppositional politics and their competing views of international relations. The Consul takes a more jaded approach to the Spanish Civil War: “But with calamity at the end of it! There must be calamity because otherwise the people who did the interfering would have to come back and cope with their responsibilities for a change” (324). The Consul resents those that interfere in others’ conflicts and believes calamity will ensue precisely because it must; there is no other way for the war to play out. Hugh, who believes in fighting for a just cause and trying to prevent such calamity, challenges his brother: “Just let a real war come along and then see how blood-thirsty chaps like you are!” (324). Hugh attempts to paint his brother as a man who pretends to be anti-war but, when violence arises, will jump at it just as other men do. In doing so, he tries to distance himself from his brother, positioning himself as a man of the people with principles and his brother as a removed academic, lost in ideas that aren’t applicable in the real world.
Jacques Laruelle is the childhood friend-turned-enemy of the Consul and the antagonist of Under the Volcano. It is revealed that Jacques and Yvonne conducted an affair that led to the dissolution of the Consul and Yvonne’s marriage. Jacques is only in the book for two of its twelve chapters, but his role is essential to understanding the actions of the other characters. Jacques opens the novel, with the first chapter following him a year after the events leading to the Consul and Yvonne’s deaths as he prepares to leave Mexico. In the face of these memories, he experiences survivor’s guilt:
And now M. Laruelle could feel their burden pressing upon him from outside, as if somehow it had been transferred to these purple mountains all around him, so mysterious, with their secret mines of silver, so withdrawn, yet so close, so still, and from these mountains emanated a strange melancholy force that tried to hold him here bodily, which was its weight, the weight of many things, but mostly that of sorrow (13).
He is left in Mexico, knowing his role in the fateful events of the Consul and Yvonne’s relationship and his and others’ inability to stop them. He acts as someone only slightly removed from the events, not present for the tragedy, but close enough to be impacted.
In the following chapters of Under the Volcano, Jacques is the villain, scaring Yvonne and angering the Consul. When they arrive at his house, Yvonne wants to leave immediately in order to avoid confrontation, while the Consul wishes to stay. The Consul’s ire for Jacques is so pronounced that he reduces him solely to his role in the affair: “But the abominable impact on his whole being at this moment of the fact that that hideously elongated cu-cumiform bundle of blue nerves […] had sought its pleasure in his wife’s body brought him trembling to his feet” (216). Jacques comes to represent everything that has gone wrong in the Consul’s life. The Consul fails to recognize his own fault in the affair, which Jacques readily reminds him of, and paints Jacques as the sole villain. Jacques is a plot device, meant to show the impact the Consul’s addiction to alcohol has on others as well as the Consul’s inability to recognize reality. While Jacques is a more rounded character in the first chapter, during the remainder of the novel, seen through the eyes of the Consul, he is completely static, represented only as a selfish and meddling villain.