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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.
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.”
Honor Among Thieves profiles Melville's eventful life & discusses his cinema as an essential body of work in our reckoning of postwar European cinema.
“Many of the selections have become standard studies and interpretations: Sherman Paul on “The Town-Ho’s Story,’ R. W. B. Lewis on Melville and Homer, Merton Sealts on Melville’s “I and My Chimney,’ to name only a few. The quality of the selections is very high indeed, as was true of earlier volumes in this series. . . . Highly recommended.”—Choice
Herman Melville is widely considered to be one of America's greatest authors, and countless literary theorists and critics have studied his life and work. However, political theorists have tended to avoid Melville, turning rather to such contemporaries as Ralph Waldo Emerson and Henry David Thoreau to understand the political thought of the American Renaissance. While Melville was not an activist in the traditional sense and his philosophy is notoriously difficult to categorize, his work is nevertheless deeply political in its own right. As editor Jason Frank notes in his introduction to A Political Companion to Herman Melville, Melville's writing "strikes a note of dissonance in the pre-established harmonies of the American political tradition." This unique volume explores Melville's politics by surveying the full range of his work -- from Typee (1846) to the posthumously published Billy Budd (1924). The contributors give historical context to Melville's writings and place him in conversation with political and theoretical debates, examining his relationship to transcendentalism and contemporary continental philosophy and addressing his work's relevance to topics such as nineteenth-century imperialism, twentieth-century legal theory, the anti-rent wars of the 1840s, and the civil rights movement. From these analyses emerges a new and challenging portrait of Melville as a political thinker of the first order, one that will establish his importance not only for nineteenth-century American political thought but also for political theory more broadly.
Herman Melville and Nathaniel Hawthorne met in 1850 and enjoyed for sixteen months an intense but brief friendship. Taking advantage of new interpretive tools such as queer theory, globalist studies, political and social ideology, marketplace analysis, psychoanalytical and philosophical applications to literature, masculinist theory, and critical studies of race, the twelve essays in this book focus on a number of provocative personal, professional, and literary ambiguities existing between the two writers. Jana L. Argersinger and Leland S. Person introduce the volume with a lively summary of the known biographical facts of the two writers’ relationship and an overview of the relevant scholarship to date. Some of the essays that follow broach the possibility of sexual dimensions to the relationship, a question that “looms like a grand hooded phantom” over the field of Melville-Hawthorne studies. Questions of influence--Hawthorne’s on Moby-Dick and Pierre and Melville’s on The Blithedale Romance, to mention only the most obvious instances--are also discussed. Other topics covered include professional competitiveness; Melville’s search for a father figure; masculine ambivalence in the marketplace; and political-literary aspects of nationalism, transcendentalism, race, and other defining issues of Hawthorne and Melville’s times. Roughly half of the essays focus on biographical issues; the others take literary perspectives. The essays are informed by a variety of critical approaches, as well as by new historical insights and new understandings of the possibilities that existed for male friendships in nineteenth-century American culture.
A “brilliant and provocative” (The New Yorker) celebration of Melville’s masterpiece—from the bestselling author of In the Heart of the Sea, Valiant Ambition, and In the Hurricane's Eye One of the greatest American novels finds its perfect contemporary champion in Why Read Moby-Dick?, Nathaniel Philbrick’s enlightening and entertaining tour through Melville’s classic. As he did in his National Book Award–winning bestseller In the Heart of the Sea, Philbrick brings a sailor’s eye and an adventurer’s passion to unfolding the story behind an epic American journey. He skillfully navigates Melville’s world and illuminates the book’s humor and unforgettable characters—finding the thread that binds Ishmael and Ahab to our own time and, indeed, to all times. An ideal match between author and subject, Why Read Moby-Dick? will start conversations, inspire arguments, and make a powerful case that this classic tale waits to be discovered anew. “Gracefully written [with an] infectious enthusiasm…”—New York Times Book Review
A new selection of Melville's darkest and most enthralling stories in a beautiful Pushkin Collection edition Includes "Bartleby, the Scrivener", "Benito Cereno" and "The Lightning-Rod Man" A lawyer hires a new copyist, only to be met with stubborn, confounding resistance. A nameless guide discovers hidden worlds of luxury and bleak exploitation. After boarding a beleaguered Spanish slave ship, an American trader's cheerful outlook is repeatedly shadowed by paralyzing unease. In these stories of the surreal mundanity of office life and obscure tensions at sea, Melville's darkly modern sensibility plunges us into a world of irony and mystery, where nothing is as it first appears.
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.