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Handsomely Done: Aesthetics, Politics, and Media after Melville brings together leading and emerging scholars from comparative literature, critical theory, and media studies to examine Melville’s works in light of their ongoing afterlife and seemingly permanent contemporaneity. The volume explores the curious fact that the works of this most linguistically complex and seemingly most “untranslatable” of authors have yielded such compelling translations and adaptations as well as the related tendency of Melville’s writing to flash into relevance at every new historical-political conjuncture.

The volume thus engages not only Melville reception across media (Jorge Luis Borges, John Huston, Jean-Luc Godard, Led Zeppelin, Claire Denis) but also the Melvillean resonances and echoes of various political events and movements, such as the Attica uprising, the Red Army Faction, Occupy Wall Street, and Black Lives Matter. This consideration of Melville’s afterlife opens onto theorizations of intermediality, un/translatability, and material intensity even as it also continually faces the most concrete and pressing questions of history and politics. 
 

William Morrisey unravels Melville’s “loomings” of the great whale, showing them to be important threads of politics and theories of governance. The Young America of Melville’s day valorized popular sovereignty such that moral law suppressed by the majority rule was bringing America to state of being that could only then be ruled by the mightiest of the mighty––the great Leviathan, who reigns in the boundless chaotic sea separated from “stable land.” The force of the created world and the necessary ordering achieved through conquest are dominating themes of Melville’s great tale, but as Morrisey observes approaching the great whale, ruler of the untamable seas, is for captain (ruler) an opportunity to destroy it. But for the sailor (the ruled) being close to the white whale is a moment for understanding, and in turn of being understood. Yet in what sense is being seen, for human beings of moral bearings, not also an impulse to self-impose? “The modern Ishmael wants to see, not to kill, perhaps to be seen, and surely not to be killed. Americans too need to come to terms with the white whale, if they are to perceive reality as it is without bringing destruction upon themselves.” Is Melville proposing an utterly new philosophy of ruler and ruled, of a proper gauge of the immeasurable chaos that is nature?

“Does Melville also intend to be a founder in the ‘New World’?” Morrisey’s study is a compelling look at the early political moments of a new nation, but one that at the time perceived itself as already aging and maturing in the process of political voyage and adventure. Dangers lie ahead, Melville seems to warn, and in his disenchantment of the vigor of the Young America he once endorsed he tells the story of what really happens when democracy is idealized and the surrounding waters of chaos are thereby veiled; and yet also of what happens when one would seek to command the chaos only to transform into the unpredictably destructive prey he pursues, especially under the guise of moral outrage. 

Melville, like Ishmael, urges a new vision of both God and nature, and challenges the notion of rule in all its expressions. Americans, the people of the New World, are invited to be unafraid, but also careful. In wandering as on the open waters one wonders, beyond civic boundaries and conventions, and in that wonder one may finally come face to face with what is good and grand––but in beholding the great white whale, can one resist the urge to conquest, now that he is likewise by the leviathan beholden? Is the rule of man and the coronation of a specific dialectic of power an untenable victory, given that “‘Nature is nobody’s ally’: it wounds or kills any person or nation that violates it, impartially”? 

Morrisey writes with lucidity and weaves together elements of history, literature, politics and perhaps his own affinity for Ishmael’s passenger spirit to reveal just how broad and boundless of a narrative Melville’s Moby Dick truly is.

Based on more than a half-century of research, Herman Melville's Whaling Years is an essential work for Melville scholars. In meticulous and thoroughly documented detail, it examines one of the most stimulating periods in the great author's life--the four years he spent aboard whaling vessels in the Pacific during the early 1840s. Melville would later draw repeatedly on these experiences in his writing, from his first successful novel, Typee, through his masterpiece Moby-Dick, to the poetry he wrote late in life.

During his time in the Pacific, Melville served on three whaling ships, as well as on a U.S. Navy man-of-war. As a deserter from one whaleship, he spent four weeks among the cannibals of Nukahiva in the Marquesas, seeing those islands in a relatively untouched state before they were irrevocably changed by French annexation in 1842. Rebelling against duty on another ship, he was held as a prisoner in a native calaboose in Tahiti. He prowled South American ports while on liberty, hunted giant tortoises in the Galapagos Islands, and explored the islands of Eimeo (Moorea) and Maui. He also saw the Society and Sandwich (Hawaiian) Islands when the Western missionary presence was at its height.

Heflin combed the logbooks of any ship at sea at the time of Melville's voyages and examined nineteenth-century newspaper items, especially the marine intelligence columns, for mention of Melville's vessels. He also studied British consular records pertaining to the mutiny aboard the Australian whaler Lucy Ann, an insurrection in which Melville participated and which inspired his second novel, Omoo.

Distilling the life's work of a leading Melville expert into book form for the first time, this scrupulously edited volume is the most in-depth account ever published of Melville's years on whaleships and how those singular experiences influenced his writing.