John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.
A comprehensive exploration of Melville’s formative years, providing a new biographical foundation for today’s generations of Melville readers Herman Melville: A Half Known Life, Volumes 1 and 2, follows Herman Melville’s life from early childhood to his astonishing emergence as a bestselling novelist with the publication of Typee in 1846. These volumes comprise the first half of a comprehensive biography on Melville, grounded in archival research, new scholarship, and incisive critical readings. Author John Bryant, a distinguished Melville scholar, editor, critic, and educator, traces the events and experiences that shaped the many-stranded consciousness of one of literature’s greatest writers. This in-depth and innovative biography covers Melville’s family history and literary friendships, his father-longing, god-hunger, and search for the hidden nature of Being, the genesis of his liberal politics, his empathy for African Americans, Native Americans, Polynesians, South Americans, and immigrants. Original perspectives on Melville’s earliest identities—orphaned son, sibling, farmer, teacher, debater, lover, actor, sailor—provide the context for Melville’s evolution as a writer. The biography presents new information regarding Melville’s reading, his early orations and acting experience, his life at sea and on the road, and the unsettling death of his older, rival brother from mercury poisoning. It provides insights on experiences such as Melville’s trauma at the loss of his father, his learning to write amidst a coterie siblings, his struggles to find work during economic depression, his journey West, his life in whaling and in the navy, and his vagabondage in the South Pacific during the moment of American and European imperial incursions. A significant addition to Melville scholarship, this important biographical work: Explores the nature and development of Melville’s creative consciousness, through the lens of his revisions in manuscript and print Assesses Melville’s sexual growth and exploration of the spectrum of his masculinities Highlights Melville’s relevance in contemporary democratic society Discusses Melville’s blending of dark humor and tragedy in his unique version of the picturesque Examines the ‘replaying’ of Melville’s life traumas throughout his entire works, from Typee, Omoo, Redburn, White-Jacket, Moby-Dick, Pierre, Israel Potter, and The Confidence-Man to his shorter works, including “Bartleby,” his epic Clarel, his poetry, and his last novella Billy Budd Covers such cultural and historical events as the American revolution of his grandparents, the whaling industry, New York slavery, street life and theater in Manhattan, the transatlantic slave trade, the Jacksonian economy, Indian removal, Pacific colonialism, and westward expansion Written in an engaging style for scholars and general readers alike, Herman Melville: A Half Known Life, Volumes 1 and 2 is an indispensable new source of information and insights for those interested in Melville, 19th-century and modern literature and culture, and readers of general American history and literary culture.
A comprehensive exploration of Melville's formative years, providing a new biographical foundation for today's generations of Melville readers Herman Melville: A Half Known Life, Volumes 1 and 2, follows Herman Melville's life from early childhood to his astonishing emergence as a bestselling novelist with the publication of Typee in 1846. These volumes comprise the first half of a comprehensive biography on Melville, grounded in archival research, new scholarship, and incisive critical readings. Author John Bryant, a distinguished Melville scholar, editor, critic, and educator, traces the events and experiences that shaped the many-stranded consciousness of one of literature’s greatest writers. This in-depth and innovative biography covers Melville's family history and literary friendships, his father-longing, god-hunger, and search for the hidden nature of Being, the genesis of his liberal politics, his empathy for African Americans, Native Americans, Polynesians, South Americans, and immigrants. Original perspectives on Melville’s earliest identities—orphaned son, sibling, farmer, teacher, debater, lover, actor, sailor—provide the context for Melville’s evolution as a writer. The biography presents new information regarding Melville's reading, his early orations and acting experience, his life at sea and on the road, and the unsettling death of his older, rival brother from mercury poisoning. It provides insights on experiences such as Melville's trauma at the loss of his father, his learning to write amidst a coterie siblings, his struggles to find work during economic depression, his journey West, his life in whaling and in the navy, and his vagabondage in the South Pacific during the moment of American and European imperial incursions. A significant addition to Melville scholarship, this important biographical work: Explores the nature and development of Melville's creative consciousness, through the lens of his revisions in manuscript and print Assesses Melville's sexual growth and exploration of the spectrum of his masculinities Highlights Melville's relevance in contemporary democratic society Discusses Melville's blending of dark humor and tragedy in his unique version of the picturesque Examines the 'replaying' of Melville's life traumas throughout his entire works, from Typee, Omoo, Redburn, White-Jacket, Moby-Dick, Pierre, Israel Potter, and The Confidence-Man to his shorter works, including "Bartleby," his epic Clarel, his poetry, and his last novella Billy Budd Covers such cultural and historical events as the American revolution of his grandparents, the whaling industry, New York slavery, street life and theater in Manhattan, the transatlantic slave trade, the Jacksonian economy, Indian removal, Pacific colonialism, and westward expansion Written in an engaging style for scholars and general readers alike, Herman Melville: A Half Known Life, Volumes 1 and 2 is an indispensable new source of information and insights for those interested in Melville, 19th-century and modern literature and culture, and readers of general American history and literary culture.
Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.
The interplay between solitude and society was a particularly persistent theme in nineteenth-century American literature, though writers approached this theme in different ways. Poe explored the metaphysical significance of isolation and held solitude in high esteem; Hawthorne viewed the theme in moral terms and examined the obligation of each individual to the larger community; and Emerson maintained that the contradictory states of self-reliance and solidarity are fundamental to human happiness. Herman Melville emerged with an ontological response to this issue. Questioning the nature of being, he argued that humans are essentially isolated creatures. While he grants that we are free to choose how we conduct our lives, whether in solitude or in society, we cannot escape the essential condition of our alienation. Thus in Moby-Dick, he coins the term Isolato to signify the inherent separateness of all individuals. Writing some fifty years later, Edith Wharton reached the same conclusion. This book argues that Wharton's views on solitude and society were strongly parallel to those of Melville. Scholars have generally held that Wharton was primarily influenced by the great English, French, and Russian writers of the nineteenth century; and that with the exception of Walt Whitman, Ralph Waldo Emerson, and Henry James, she neglected the influence of American literature almost entirely. This study demonstrates that Wharton read a significant portion of Melville's writings, that she reflected on the nature and achievement of his works, and that her consideration of his importance emerged during very significant moments in her life, when she was forced to grapple with her own place as an individual in relation to a larger community. Though Melville and Wharton initially seem disparate, this book shows that they had much in common. By studying the two authors side by side, this volume reveals that they shared a similar way of seeing the world, particularly with respect to their considerations of solitude and society. Through their solitary characters, Melville and Wharton question the relationship of self and society and thus engage a universal problem of special interest to the nineteenth century.
Studies of the writing of Herman Melville are often divided among those that address his political, historical, or biographical dimensions and those that offer creative theoretical readings of his texts. In Herman Melville and the Politics of the Inhuman, Michael Jonik offers a series of nuanced and ambitious philosophical readings of Melville that unite these varied approaches. Through a careful reconstruction of Melville's interaction with philosophy, Jonik argues that Melville develops a notion of the 'inhuman' after Spinoza's radically non-anthropocentric and relational thought. Melville's own political philosophy, in turn, actively disassembles differences between humans and nonhumans, and the animate and inanimate. Jonik has us rethink not only how we read Melville, but also how we understand our deeply inhuman condition.
This collection of analytical essays is the result of several conferences throughout 1991, the centennary of Herman Melville's death. They survey the past and present of Melville Studies and suggest directions for the future.
What becomes of theology when we think of it aesthetically? What becomes of aesthetics when we think of it theologically? These are the guiding questions that inform both the method and the conclusions of this volume's exploration into the literary world of Herman Melville's "characteristic theology." Far from a specialist work that simply seeks to flesh out the religious disposition and myriad influences of one particular literary giant, Johnson's focus in this volume is instead the identification of a philosophically robust aesthetic conception of theology at its most politically and contemporarily relevant. By way of the Masquerade it sets in motion and in which it fully participates, from its beginning to its very end, this book uses Melville's fiction as vehicle for a radical aesthetic engagement with the theological bases of subjectivity and sovereignty. Through this exploration Johnson conceives the creatively duplicitous character of a materialistic theology whose aim is nothing less than the fashioning of a new heaven and a new earth.
Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. The ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life, '" which for Milder means primarily his spiritual, psychological, and vocational life. The title essay takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab," Melville's mythic projection of his own feelings of emotional and ontological disinheritance. How to live nobly in spiritual exile-to be godlike in the perceptible absence of God-was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. Exiled Royalties explores the ways in which Melville satisfied this impulse throughout his forty-five year career, how it shaped the matter and manner of his work, and how his writing, in turn, reflexively bore upon his private life and upon the life of the nation.
