This challenging and timely study demonstrates that the problems Melville faced as a writer - the relationship between politics and aesthetics and the representation of the marginalized without appropriation - are similar to issues faced in the academy today.

For Herman Melville, the instability of democracy held tremendous creative potential. Examining the centrality of political thought to Melville's oeuvre, Jennifer Greiman argues that Melville's densely figurative aesthetics give form to a radical reimagining of democratic foundations, relations, and ways of being—modeling how we can think democracy in political theory today. Across Melville's five decades of writing, from his early Pacific novels to his late poetry, Greiman identifies a literary formalism that is radically political and carries the project of democratic theory in new directions. Recovering Melville's readings in political philosophy and aesthetics, Greiman shows how he engaged with key problems in political theory—the paradox of foundations, the vicious circles of sovereign power, the fragility of the people—to produce a body of radical democratic art and thought. Scenes of green and growing life, circular structures, and images of a groundless world emerge as forms for understanding democracy as a collective project in flux. In Melville's experimental aesthetics, Greiman finds a significant precursor to the tradition of radical democratic theory in the US and France that emphasizes transience and creativity over the foundations and forms prized by liberalism. Such politics, she argues, are necessarily aesthetic: attuned to material and sensible distinctions, open to new forces of creativity.

American literature is profoundly, almost inescapably political. America's most thoughtful authors long ago realized that it was through the novel, the novella, and the story that philosophic education of America's citizens would best be undertaken. In this fascinating new anthology of original essays, ten leading scholars explore the ways in which American civic education has been informally advanced through literature. Delving into the works of authors ranging from Mark Twain to William Faulkner to Octavia Butler, these essays reflect on the close relationship between democracy and literature. They convey an understanding that the greatest American literary works are also works of profound philosophical insight. Through careful analysis, Democracy's Literature illustrates that democracy and literature are natural partners, forging a relationship that America's greatest authors have long realized in their subtle efforts to craft a democratic public philosophy.

This new collection offers timely, critical essays specially commissioned to provide a comprehensive overview of Melville's career.

This reference work covers both Herman Melville's life and writings. It includes a biography and detailed information on his works, on the important themes contained therein, and on the significant people and places in his life. The appendices include suggestions for further reading of both literary and cultural criticism, an essay on Melville's lasting cultural influence, and information on both the fictional ships in his works and the real-life ones on which he sailed.

This collection of analytical essays is the result of several conferences throughout 1991, the centennary of Herman Melville's death. They survey the past and present of Melville Studies and suggest directions for the future.

Nineteenth-century American literature is often divided into two asymmetrical halves, neatly separated by the Civil War. Focusing on the later writings of Walt Whitman, Frederick Douglass, Herman Melville, and Emily Dickinson, this book shows how the war took shape across the nineteenth century, inflecting literary forms for decades after 1865.

Presents a collection of criticism devoted to the work of American author Herman Melville.

Lee demonstrates how Melville, Emerson and others tried to find rational solutions to the slavery conflict.

The contributors to Situation Critical argue for the continued importance of critique to early American studies, pushing back against both reductivist neo-empiricism and so-called postcritique. Bringing together essays by a diverse group of historians and literary scholars, editors Max Cavitch and Brian Connolly demonstrate that critique is about acknowledging that we are never simply writing better or worse accounts of the past, but accounts of the present as well. The contributors examine topics ranging from the indeterminacy of knowledge and history to Black speculative writing and nineteenth-century epistemology, the role of the unconscious in settler colonialism, and early American writing about masturbation, repression, religion, and secularism and their respective influence on morality. The contributors also offer vital new interpretations of major lines of thought in the history of critique—especially those relating to Freud and Foucault—that will be valuable both for scholars of early American studies and for scholars of the humanities and interpretive social sciences more broadly. Contributors. Max Cavitch, Brian Connolly, Matthew Crow, John J. Garcia, Christopher Looby, Michael Meranze, Mark J. Miller, Justine S. Murison, Britt Rusert, Ana Schwartz, Joan W. Scott, Jordan Alexander Stein