By Sheila Post-Lauria
This cutting edge e-book makes a massive contribution to the present revision of the yank literary canon. demanding 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 basic to his creativity. Firmly grounded within the new scholarship at the historical past of nineteenth-century print tradition and in stories of Melville's contemporaries, Correspondent colorations offers a rereading of Melville's oeuvre that casts new mild on masterpieces like Moby dick and ambiguous texts resembling Benito Cereno, in addition to lesser identified journal and the overdue poetry.
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Extra resources for Correspondent Colorings: Melville in the Marketplace
Poetry in Blubber: Mixed Form in Moby-Dick," in Nineteenth-Century Literature (December 1990); "Genre and Ideology: The French Sensational Romance and Melville's Pierre," in Journal of American Culture (Fall 1992); ''Canonical Texts and Context: The Example of "Bartleby, the Scrivener: A Story of Wall Street," Page x College Literature (June 1993); "Editorial Politics in Benito Cereno," American Periodicals (1995); "Magazine Practices and Melville's Israel Potter," in American Social Texts and Periodical Contexts, ed.
The reviewer for Graham's Magazine described J. T. Headley's The Alps and the Rhine as a "brilliant and picturesque production, relating to men, manners, and scenery ... " An earlier reviewer, also in Graham's, linked the particular focus and style of Headley's Letters from Italy (1845) to an American audience, the general reader: "The speculations on Italian society and politics, the anecdotes of individuals, and many of the personal incidents which occurred ... " 44 Yet even within the American school, differences in orientation existed.
Primitive Simplicity of Government" (emphasis added)Melville's narrator undercuts his ethnocentrism by offering personal opinions. Placing his narrator within cultural practices ("the festival") and thus in contact with individuals ("Regal Dignity of Mehevi"), Melville stresses the experiential and interactional nature of his narrative. Rather than dissecting and adopting a superior stance to the culture, the narrator celebrates ("Personal Page 17 beauty ... Their superiority ... the uncommon Beauty of the Marquesans") and appears to embrace Marquesan culture.