The Melvilles

"What Otter has done better than most contemporary readers of Melville is to bring Melville's obsession with rhetoric and with authorship into alignment with those political issues and to capture fully the context of Melville's concerns."—Priscilla Wald, author of Constituting Americans

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.

This challenging and timely study demonstrates that the problems Melville faced as a writer - the relationship between politics and aesthetics and the representation of the marginalized without appropriation - are similar to issues faced in the academy today.

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.”

This volume presents Melville's three known journals. Unlike his contemporaries Emerson, Thoreau, and Hawthorne, Melville kept no habitual record of his days and thoughts; each of his three journals records his actions and observations on trips far from home. In this edition's Historical Note, Howard C. Horsford places each of the journals in the context of Melville's career, discusses its general character, and points out the later literary uses he made of it, notably in Moby-Dick, Clarel, and his magazine pieces. The editors supply full annotations of Melville's allusions and terse entries and an exhaustive index makes available the range of his acquaintance with people, places, and works of art. Also included are related documents, illustrations, maps, and many pages and passages reproduced from the journals. This scholarly edition aims to present a text as close to the author's intention as his difficult handwriting permits. It is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

Many writers in antebellum America sought to reinvent the Bible, but no one, Ilana Pardes argues, was as insistent as Melville on redefining biblical exegesis while doing so. In Moby-Dick he not only ventured to fashion a grand new inverted Bible in which biblical rebels and outcasts assume center stage, but also aspired to comment on every imaginable mode of biblical interpretation, calling for a radical reconsideration of the politics of biblical reception. In Melville's Bibles, Pardes traces Melville's response to a whole array of nineteenth-century exegetical writings—literary scriptures, biblical scholarship, Holy Land travel narratives, political sermons, and women's bibles. She shows how Melville raised with unparalleled verve the question of what counts as Bible and what counts as interpretation.

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.

A detailed account of Herman Melville's life during the Civil War, as well as study of his war epic, Battle-Pieces.