By Sheila Post-Lauria
This leading edge publication makes an incredible contribution to the present revision of the yank literary canon. difficult the view of Melville as an remoted, alienated genius, Sheila Post-Lauria provides him not just as a author keenly attuned to the preferred tradition of his day but in addition as person who thought of reliance upon cultural fabrics primary to his creativity. Firmly grounded within the new scholarship at the background of nineteenth-century print tradition and in reviews of Melville's contemporaries, Correspondent colors presents a rereading of Melville's oeuvre that casts new mild on masterpieces like Moby dick and ambiguous texts akin to Benito Cereno, in addition to lesser recognized journal and the past due poetry.
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Additional info for Correspondent Colorings: Melville in the Marketplace
Melville, Herman, 18191891Technique. Authors and readersUnited StatesHistory19th century. Melville, Herman, 18191891Books and reading. JournalismUnited StatesHistory19th century. FictionTechnique. Title. 3dc2095-37247 CIP British Library Cataloging in Publication data are available. This book is published with the support and cooperation of the University of Massachusetts Boston. Page v This book is gratefully dedicated to all those who helped me make it a reality. Page vii CONTENTS Acknowledgments ix Preface xi Part One Literary Culture 1.
31 Melville's method, however, is more similar to the practices of a distinct group of primarily American travel writers. For example, J. 32 Yet Melville also defers to cultivated attitudes. While praising aspects of native life, the narrator of Typee continually looks for what James E. , has called the "horror that exists not far beneath the placid surface. "33 Tommo knowingly qualifies his praise by stating: "Notwithstanding the kind treatment we received, I was too familiar with the fickle disposition of the savages not to feel anxious to withdraw from the valley, and put myself beyond the reach of that fearful death which, under all these smiling appearances, might yet menace us" (97).
Genetic scholars assume that Melville planned his "market" novels, Redburn and White-Jacket, and locate Melville's creativity in his reputedly "unplanned" works. Indeed, Melville is often praised for originality in exactly those areas where his works most conform to once popular but now forgotten forms. In chapter 5, I relate an overlooked narrative form that Melville employed in Moby-Dick to new contexts through which to gauge the author's creativity in this masterpiece. This study also reconsiders the question of how successfully the author employed established practices.
Correspondent Colorings: Melville in the Marketplace by Sheila Post-Lauria