Clark Davis - After the Whale: Melville in the Wake of Moby Dick
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After the Whale: Melville in the Wake of Moby Dick
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After the Whale : Melville in the Wake of Moby-Dick
author
:
Davis, Clark.
publisher
:
University of Alabama Press
isbn10 | asin
:
0817307745
print isbn13
:
9780817307745
ebook isbn13
:
9780585179346
language
:
English
subject
Melville, Herman,--1819-1891--Criticism and interpretation, Melville, Herman,--1819-1891.--Moby Dick.
publication date
:
1995
lcc
:
PS2387.D39 1995eb
ddc
:
813/.3
subject
:
Melville, Herman,--1819-1891--Criticism and interpretation, Melville, Herman,--1819-1891.--Moby Dick.
Page iii
After the Whale
Melville in the Wake of Moby-Dick
Clark Davis
The University of Alabama Press Tuscaloosa and London
Page iv
Copyright 1995 The University of Alabama Press Tuscaloosa, Alabama 35487-0380 All rights reserved Manufactured in the United States of America
The paper on which this book is printed meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Library of Congress Cataloging-in-Publication Data
Davis, Clark. After the whale : Melville in the wake of Moby-Dick / Clark Davis. p. cm. Includes bibliogaphical references and index. ISBN 0-8173-0774-5 1. Melville, Herman, 18191891Criticism and interpretation. 2. Melville, Herman, 18191891. Moby-Dick. I. Title. PS2387.D39 1995 813'.3dc20 94-43179
British Library Cataloguing-in-Publication Data available
The illustration on the cover jacket is an engraving entitled Cutting Away the Masts by J. T. Willmore after C. Stanfield. (Courtesy of Berkshire Athenaeum, Herman Melville Memorial Room, Pittsfield, Massachusetts.)
The illustration on the title page is an engraving entitled Figures on a Shore in a Storm, after Claude Joseph Vernet. (Courtesy of Berkshire Athenaeum, Herman Melville Memorial Room, Pittsfield, Massachusetts.)
Page v
For my parents and for Hillary
Page vii
CONTENTS
Preface
ix
Acknowledgments
xiii
I. Moby-Dick and After
1. Moby-Dick and the Divided Body
3
2. Language and the Ascetic Body in Pierre and "Bartleby"
24
3. Israel Potter and the Search for the Hearth
46
II. The Limits of Form
4. Toward Deception: The Short Fiction and the Failing Body
65
5. Inverted Worlds: "Benito Cereno" and The Confidence-Man
84
III. Reshaping the Lost Debate
6. The Fissure in the Hearth: Battle Pieces
107
7. Clarel and the Search for the Divine Body
125
8. A Question of Distance: The Late Poetry
151
IV. An Open Ending
9. Billy Budd and the Touch of a God
187
Epilogue
201
Page viii
Notes
203
Bibliography
219
Index
227
Page ix
PREFACE
Truth uncompromisingly told will always have its ragged edges. Billy Budd
Among those nineteenth-century American writers who maintain canonical status, Melville continues to attract, almost simultaneously, both an extreme attention and a benign neglect. As with most authors whose reputations have grown from the single seed of one great book, the light shed on the "supporting" works, those leading to and away from the chef d'oeuvre, is not only less strong but tends, more often than not, to catch only the burnished surfaces of arguably weaker texts in whose pages readers often find the shrunken, sometimes warped image of the principal work. Such a method is both understandable and practical; nevertheless, in certain cases, it seems to promote a continuous inattention to those individual productions that stand furthest from the masterwork in accomplishment as well as to the process by which the author discovers new forms and expression.
In this respect, a large portion of Melville's careerthe period extending from Pierre to Billy Buddhas itself suffered not so much from a lack of interest as from a willful dissociation, a frequent refusal to envision this long period of generic uncertainty as a whole, to see Melville not simply as the author of a few famous prose fictions but as a writer whose lifelong engagement with language pushed him through generic boundaries in search of new ways of shaping and questioning his world. This study attempts just such a vision of the middle and later Melville in the hope that by linking prose to poetry, short tale to novel, epic to sketch, we can begin to examine Melville's later work consecutively and completely and understand the development of his attitude toward reality and language as it unfolds from work to work.
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