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Herman Melville is a towering figure in American literature--arguably the country's greatest nineteenth-century writer. Revising a number of entrenched misunderstandings about Melville in his later years, this is a remarkable and unprecedented account of the aged author giving himself over to a life of the mind. Focusing exclusively on a period usually associated with the waning of Melville's literary powers, William B. Dillingham shows that he was actually concentrating and intensifying his thoughts on art and creativity to a greater degree than ever before. Biographers have written little about Melville's deceptively "quiet" years after the publication of the long poem Clarel in 1876 and before his death in 1891. It was a time when he saw few friends or acquaintances, answered most of his letters as briefly as possible, and declined most social invitations. But for Melville, as for Emily Dickinson, such outward appearances belied an intense, engaged inner life. If for no other reason, Dillingham reminds us, this period merits more discerning attention because it was then that Melville produced Billy Budd as well as an impressive number of new and revised poems--while working full-time as a customs inspector for more than half of those years. What sustained Melville during that final period of ill health and near-poverty, says Dillingham, was his "circle," not of close friends but of works by a number of writers that he read with appreciative, yet discriminating, affinity, including Matthew Arnold, James Thomson, Arthur Schopenhauer, and Honore de Balzac. Dillingham relates these readings to Melville's own poetry and prose and to a rich variety of largely underappreciated topics relevant to Melville's later life, from Buddhism, the School of Pessimism, and New York intellectual life to Melville's job at the ever-corrupt customs house, his fear of disgrace and increased self-absorption, and his engagement with both the picturesque and the metaphorical power of roses in art and literature. This portrait of the great writer's final years is at once a biography, an intellectual history, and a discerning reading of his mature work. By showing that Melville's isolation was a conscious intellectual decision rather than a psychological quirk, Melville and His Circle reveals much that is new and challenging about Melville himself and about our notions of age and the persistence of imagination and creativity.
Originally published to promote his French translation of Moby-Dick, Jean Giono's Melville: A Novel is an astonishing literary compound of fiction, biography, personal essay, and criticism. In the fall of 1849, Herman Melville traveled to London to deliver his novel White-Jacket to his publisher. On his return to America, Melville would write Moby-Dick. Melville: A Novel imagines what happened in between: the adventurous writer fleeing London for the country, wrestling with an angel, falling in love with an Irish nationalist, and, finally, meeting the angel’s challenge—to express man’s fate by writing the novel that would become his masterpiece. Eighty years after it appeared in English, Moby-Dick was translated into French for the first time by the Provençal novelist Jean Giono and his friend Lucien Jacques. The publisher persuaded Giono to write a preface, granting him unusual latitude. The result was this literary essay, Melville: A Novel—part biography, part philosophical rumination, part romance, part unfettered fantasy. Paul Eprile’s expressive translation of this intimate homage brings the exchange full circle. Paul Eprile was a co-winner of the French-American Foundation's 2018 Translation Prize for his translation of Melville.
What sustained Melville during that final period of ill health and near-poverty, says Dillingham, was his "circle," not of close friends but of works by a number of writers that he read with appreciative, yet discriminating, affinity, including Matthew Arnold, James Thomson, Arthur Schopenhauer, and Honore de Balzac. Dillingham relates these readings to Melville's own poetry and prose and to a rich variety of largely under-appreciated topics relevant to Melville's later life, from Buddhism, the School of Pessimism, and New York intellectual life to Melville's job at the ever-corrupt customs house, his fear of disgrace and increased self-absorption, and his engagement with both the picturesque and the methaphorical power of roses in art and literature.
Finalist for the National Book Critics Circle Award in Biography A double portrait of two of America’s most influential writers that reveals the surprising connections between them—and their uncanny relevance to our age of crisis Up from the Depths tells the interconnected stories of two of the most important writers in American history—the novelist and poet Herman Melville (1819–1891) and one of his earliest biographers, the literary critic and historian Lewis Mumford (1895–1990). Deftly cutting back and forth between the writers, Aaron Sachs reveals the surprising resonances between their lives, work, and troubled times—and their uncanny relevance in our own age of crisis. The author of Moby-Dick was largely forgotten for several decades after his death, but Mumford helped spearhead Melville’s revival in the aftermath of World War I and the 1918–1919 flu pandemic, when American culture needed a forebear with a suitably dark vision. As Mumford’s career took off and he wrote books responding to the machine age, urban decay, world war, and environmental degradation, it was looking back to Melville’s confrontation with crises such as industrialization, slavery, and the Civil War that helped Mumford to see his own era clearly. Mumford remained obsessed with Melville, ultimately helping to canonize him as America’s greatest tragedian. But largely forgotten today is one of Mumford’s key insights—that Melville’s darkness was balanced by an inspiring determination to endure. Amid today’s foreboding over global warming, racism, technology, pandemics, and other crises, Melville and Mumford remind us that we’ve been in this struggle for a long time. To rediscover these writers today is to rediscover how history can offer hope in dark times.
This study treats comprehensively the sixteen short works of fiction that Herman Melville wrote between 1853 and 1856, most of which were published in Harper's and Putnam's magazines. Concentrating on the writer's two basic motivations for writing as he did in these stories, Dillingham argues that Melville created a surface of almost inane congeniality in many of the works, an illusion of vapidity that camouflages a profundity often missed by his readers. He sought to to hide disturbing themes because the magazines for which he was writing would almost certainly have rejected his attempts to be more direct. Dillingham's method is not, however, confined to a reading of the texts. Melville's stories contain so many allusions to the contemporary scene that they constitute in themselves a cultural study. An important contribution of Melville's Short Fiction is its discussion of these allusions. Finally, Dillingham examines the relationship between the short fiction and Melville's own life. Much of the writer's frustration and struggle is concealed in these early works. Melville's friendship with Hawthorne, for example, an intense and yet in some ways disappointing relationship for both men, is explored as an important influence on several of the stories.
Meet Melville, a purple, softly round, beyond-adorable sea creature who is off to “find a place for just me.” Leaving his warm and loving mama behind, Melville the sea creature sets off for an adventure, and he knows just the kind of place he’s looking for. Along the way, he gets lost (briefly), encounters sharks and other big sea creatures, and floats past a pirate ship. Melville checks out a few spots, but all fall short of his dream place…until, weary from his adventures, he finds his way back to his mama—a place that is “just right.”
A detailed account of Herman Melville's life during the Civil War, as well as study of his war epic, Battle-Pieces.
The confidence-man and alchemy -- Keeping true: Billy Budd, sailor.
An Artist in the Rigging is a study of Herman Melville's early novels--Typee, Omoo, Mardi, Redburn, and White-Jacket. The author considers these fictions from the standpoint of thematic relationship rather than of chronological development. He shows that while the five hero-narrators are separate and distinct entities, they have much in common and can be seen as representing different facets of an emergent composite hero-from the sensitive and restless young man who leaves home to search hungrily for experience, to the wanderer immersed in a deep probing of himself and his world. The hero's thirst for psychological independence--what comes to be his overriding ambition--is never satisfied, and destruction becomes inevitable, culminating in a paradoxical "apotheosis" in which the narrator-hero achieves this independence, but only at the expense of his humanity. Dillingham persuasively demonstrates the interrelated qualities of these five novels, and in so doing he shows that the young Melville was a far greater literary artist than he gave himself credit for being. This fiction constitutes a powerful achievement in richness of texture, range of effect, and depth of characterization, as An Artist in the Rigging makes clear.
This carefully crafted ebook: "The Complete Works of Herman Melville" is formatted for your eReader with a functional and detailed table of contents: Novels: Typee Omoo Mardi Redburn White-Jacket Moby-Dick Pierre Israel Potter The Confidence-Man Billy Budd, Sailor Short Stories: The Piazza Bartleby, the Scrivener Benito Cereno The Lightning-Rod Man The Encantadas, or Enchanted Isles The Bell-Tower The Apple-Tree Table Jimmy Rose I and My Chimney The Paradise of Bachelors and The Tartarus of Maids Cock-a-Doodle-Doo! The Fiddler Poor Man's Pudding and Rich Man's Crumbs The Happy Failure The 'Gees The Two Temples Daniel Orme Poetry Collections: Clarel – A Poem and Pilgrimage in the Holy Land Battle-Pieces and Aspects of the War Timoleon and Other Ventures in Minor Verse Weeds and Wildings, With a Rose or Two John Marr and Other Sailors: Bridgeroom Dick Tom Deadlight Jack Roy The Haglets The Aeolian Harp To the Master of the "Meteor" Far off Shore The Man-of-War Hawk The Figure-Head The Good Craft "Snow Bird" Old Counsel The Tuft of Kelp The Maldive Shark To Ned Crossing the Tropics The Berg The Enviable Isles Pebbles Poems from Mardi We Fish Invocation Dirge Marlena Pipe Song Song of Yoomy Gold The Land of Love Essays: Fragments from a Writing Desk Etchings of a Whaling Cruise Authentic Anecdotes of "Old Zack" Mr. Parkman's Tour Cooper's New Novel A Thought on Book-Binding Hawthorne and His Mosses Criticism: Herman Melville by Virginia Woolf Herman Melville's Moby Dick by D.H. Lawrence Herman Melville's Typee and Omoo by D.H. Lawrence Herman Melville (1819-1891) was an American novelist, short story writer, and poet of the American Renaissance period. His writing draws on his experience at sea as a common sailor, exploration of literature and philosophy, and engagement in the contradictions of American society in a period of rapid change. His best known works include Typee, an account of his experiences in Polynesian life, its sequel Omoo, and the classic Moby-Dick.