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The American Novel series provides students of American literature with introductory critical guides to the great works of American fiction by giving details of the novel's composition, publication history and contemporary reception. The group of essays, each specially commissioned from a leading scholar in the field, examines the interpretative methods and prominent ideas on the text. There are also helpful guides to further reading. Specifically designed for undergraduates, the series will be a powerful resource for anyone engaged in the critical analysis of major American novels. This collection of essays on Moby-Dick reconnects Melville's great work with concerns that are central to readers in critical studies. Richard Brodhead introduces the volume with a discussion of the book's unique place in the canon of American literature. He then recounts the novel's history from its mixed reception in the mid-nineteenth century to its prevalent status as a classic. The five essays that follow focus on various aspects of the novel: its vision of nature, its drama of social alienation, its religious defiance, and its splendid variety of language.
- Sales Rank: #489328 in Books
- Brand: Brand: Cambridge University Press
- Published on: 1986-11-28
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .43" w x 5.43" l, .57 pounds
- Binding: Paperback
- 192 pages
- Used Book in Good Condition
Most helpful customer reviews
14 of 14 people found the following review helpful.
Excellent Read
By A Customer
The editor has collected some of the most thought provoking essays that gives the reader a good introductory taste of the numerous layers and complexities of Melville's genius. The essays presented help a modern reader appreciate Melville's weighty work and why many debate that Moby Dick is the "great American novel". If you have time to only read one text on MD, then this is no waste.
-Mac
2 of 2 people found the following review helpful.
A solid selection...
By Brian C.
Richard H. Brodhead has collected a solid set of essays on Moby-Dick that succeeds in examining the novel from various perspectives and increasing the reader's appreciation for Melville's complex novel. I will attempt to provide brief summaries of each essay to give the reader some taste of what they will get from this volume.
"Trying All Things: An Introduction to Moby-Dick" by Richard H. Brodhead
In his introduction Brodhead argues that Melville identifies literature with "epic, quest narrative, and heroic tragedy" (2) Melville manages to combine these genres in the figure of Ahab who rises to epic and heroic proportions and manages to "sum up some fact of human potential" (2) but ultimately succumbs to a tragic fate. However, Melville does not stay strictly within the limits of traditional epic or tragedy - his writing embraces "the full form of writing's expressive potential", all the way from Elizabethan soliloquy, to scientific treatise, to Calvinist sermon, to legal brief (4)
Brodhead makes a good point when he argues Melville sees the "most elemental human passion" not as "love, or ambition, or acquisitiveness, but something more like anxiety - anxiety, specifically, about the ground of our being, an anxiety that drives us…to keep worrying the question how the world is framed and governed" (4) This is ultimately the impelling force of the novel. Ahab and Ishmael are not driven by pure ambition or greed but by a desire to get to the bottom of the mystery of the world.
Brodhead also discusses the critical history of Moby-Dick and makes the interesting point that the revival of interest in Moby-Dick came at a time "When qualities like discontinuous or fragmented form, symbolic structure, stylistic thickness, and antitraditional experiment were established as literary values" (18) This goes to show that aesthetic standards are not eternal. They are not set in stone. They change through the ages and, as they change, works become reevaluated, and people become capable of appreciating what appeared merely mysterious before.
"The Mariner's Multiple Quest" by James McIntosh
McIntosh highlights the "fluidity of consciousness" found in the novel. The novel never presents any settled opinions but is rather driven by an endless seeking and questioning of the universe, there is no settled mood that is not eventually disrupted by its opposite. The novel expresses moments of mystic calm followed by violence. The novel also flirts with relativistic nihilism in its presentation of the different perspectives on "The Doubloon" but even nihilism is only a temporary resting place that eventually gives rise to continued seeking.
The novel is a Romantic quest narrative, where an external quest becomes the image of an internal quest, but, according to McIntosh, it is unique in being a "multiple, not a singular, quest" (29) Each character is on their own unique quest and the White Whale does not signify the same thing to everyone. McIntosh compares and contrasts Queequeg's quest with the quests of Pip, Ahab, Father Mapple, and Captain Bildad.
"Moby-Dick as Sacred Text" Lawrence Buell
Lawrence Buell points out that the "rise of the 'higher criticism' in biblical studies" around the time Melville was writing had two effects. Negatively, the higher criticism threatened to reduce the Bible to a "culture-bound, historical artifact subject to the same methods of interpretation and susceptible to the same errors…as any other ancient artifact" (55) Positively, "a less parochial and more creative understanding of the religious imagination…became possible, an affirmative reading of myth as the expression of spiritual archetypes informing not only the Bible but the scriptures of all cultures, and not only ancient texts but - at least potentially - the literature of one's own day as well" (56)
This new understanding of religious literature, as more akin to poetry, made it possible to conceive of poets as prophets and "Literature and scripture become interchangeable categories" (57) Buell argues that Melville's novel is a religious novel that is a part of this new myth-making process.
Buell argues there are two elements in Melville's novel that are in tension to some degree. There is often a comic note involved in Melville's religious imagery - for example, in Melville's description of the elephants praying by holding their trunks up to the sun - that undercuts the myth-making process with the possibility of solipsism, since, as Ishmael notes: "in gazing on such scenes, it is all in all what mood you are in" that determines how they are read (60) But, there is often high seriousness in Melville's myth-making and "the luminousness with which the mystery of Moby Dick has been invested" (61) It becomes possible to read Moby-Dick as a comic debunking of myth as fabrication or as a form of sacred scripture. Buell argues the latter reading is more persuasive "for dramatic reasons" (64)
Buell summarizes briefly Paul Ricouer's analysis of different forms of revelation. Prophetic revelation is based on a double author of speech. The prophet is God's mouthpiece and the words spoken by the prophet are really the words of God. Moby-Dick is not revelation in that sense. Ishmael never claims that God is inspiring the words he writes. However, there is also narrative revelation. What is "essential to narrative revelation…is the emphasis on the founding event or events as the imprint, mark, or trace of God's acts. Confession takes place through narration…God's mark is in history before speech" (65) God is present in the events of Moby-Dick and Ishmael merely narrates them as a witness to the divine event.
"Call Me Ishmael, or How to Make Double-Talk Speak" by Carolyn Porter
Carolyn Porter provides an excellent analysis of the role that Ishmael plays in Moby-Dick. Ishmael has to play many duel roles in the novel. Ishmael has to be both an outcast and a representative of human nature, he has to occupy the marginal space between the familiar and the unknown, and he has to speak "with the full authority of the culture whose authority he is out to subvert" (93) Melville has to walk a very fine line with Ishmael and it is a mark of his genius that he was so successful in creating a character that exists right on the line. If Ishmael veered too far in either direction the novel would become a very different novel.
If Ishmael was not an outcast to some degree, if he represented our quotidian selves entirely, we would be presented with a farce. Ishmael would be totally lost and out of place at sea. Perhaps we would see him trying to stick to his morning breakfast routine while the rocking ship knocked the bowls and plates off his table to comic effect. If, on the other hand, Ishmael was totally foreign, he could not represent our own human nature, he would be above and beyond us, or outside of us - like Ahab. Ahab represents a possibility of human nature but he does not represent human nature in its universality, whereas, Ishmael makes the feeling for the ocean seem "fundamental to human nature itself" (74)
Similarly, if Ishmael was not in some sense a representative of the culture whose authority he was out to subvert, our xenophobic defenses would go up, and Ishmael would seem aggressive, savage, and intolerant. Even though, as Porter argues, Ishmael "aims to undermine our most basic and fixed assumptions and beliefs" most readers find Ishmael to be "genial, tolerant, open-minded" (93-94) If Ishmael fell too far the other way, and simply represented our own culture, and not its subversion, then we would be presented with a novel about the strangeness and foreignness of other cultures in a way that would merely confirm us in the rightness of our own beliefs.
"Calvinist Earthquake: Moby-Dick and Religious Tradition by T. Walter Herbert, Jr.
T. Walter Herbert, Jr. sees Moby-Dick as a response to a rift that opened up in the religious landscape in the Nineteenth-century between Orthodox Calvinism and the liberals. The contradiction arises from two claims, 1) That the world is governed by Providence, 2) That God is just and respects the moral integrity of human beings. According to Herbert, Melville "sets forth a Calvinistic analysis of Ahab's moral strife in order to form a drama in which Calvin's God appears morally odious on liberal principles, yet in which liberal principles lose their validity as a description of religious truth" (128)
Ahab is the representative of this conflict. Ahab sees his injury at the hands of the White Whale as a punishment inflicted by God which he refuses to accept since, the doctrine of a God who punishes the entire human race for Adam's fall is a teaching that evokes "a divine monster ruthlessly violating the central principles of moral truth" (127) However, Ahab - and the entire novel - also undercut the liberal notion of a God who respects the moral integrity of humanity. The deist God of order is foreign to the revelation of Godhead - not as a "decorous city" but as the "ground on which the city stands, which reveals its strange hidden life when it moves" (113) - that underlies the novel.
"When is a Painting Most Like a Whale?: Ishmael, Moby-Dick, and the Sublime" by Bryan Wolf
Bryan Wolf's essay analyzes the notion of the sublime that is at work in Emerson's essay on Nature, Melville's novel, and American landscape painting. Wolf argues that the sublime in all three is not, as is often assumed, a loss of self in the unity of nature but, rather, the absorption of nature within the solipsism of the self. This process takes place through language. However, Melville is very careful to point out the limits and dangers of the sublime in that sense. The sublime is easily disrupted - by a precipitous fall from a mast-head or when Queequeg intrudes - and the result can be death. Those who forget the outside - and forget that writing, or the attempt to recover the world in speech, relies on an outside that can never be fully absorbed - risk falling to their death in their moment of ecstasy.
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