The Weaver-God, He Weaves: Melville and the Poetics of T/Novel: Melville and the Poetics of the Novel
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With a new introd Bibliography note Includes bibliographical references p. Form of item online Isbn Isbn Type electronic bk. Specific material designation remote. Subject Epic literature, American -- History and criticism true Melville, Herman, Sea stories, American -- History and criticism true Whales in literature true Whaling in literature.
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As in his interaction with Franklin, Israel seems to have virtually no identity before he encounters Jones. He is thrown into an improbable interaction with a famous Revolutionary icon Franklin, John Paul Jones, Ethan Allen, King George III, Horne Tooke , takes on an identity that is crucially informed by that interaction, and is then abruptly cut loose, left to float about in a kind of disembodied ether until he is once again filled with a pre-sanctioned patriotic discourse that lends him a temporarily legible self.
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Without such icons, Israel seems to lose his identity altogether and becomes instead an amorphous master of disguise. He works in England after the war as, among other things, a brick maker, a gardener, a chair bottomer, and a maker of matches. It is as though without a significant patriotic figure to complement him—or even to enable him to signify as a human being—he can only inhabit counterfeit shells. He can never just be Israel, for that identity seems to mean precisely nothing without a patriotic context to give it form and structure. As the crew of the Ariel prepare to take possession of the unknown craft, Israel enthusiastically leaps upon the spanker boom and rushes the deck, mistakenly thinking that his fellow sailors will follow him.
However, the Ariel is slower than the British ship, and Israel soon finds himself a lone enemy amidst an alien crew, thrust from one floating world, where he is known and admired, to one in which he is a complete stranger. More confused than suspicious, the British sailors continually rebuff and rudely send him on his way. Finally, Israel is confronted by the master-at-arms. Where are you stationed? Who are you, any way? How did you get here?
Why, no one knows him; no one has ever seen him before; no imagination, in the wildest flight of a morbid nightmare, has ever so much as dreamed of him. Who are you? His association with Jones is profoundly episodic.
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But when he finds himself aboard the unknown British craft, that prior interaction has little to do with the way Israel understands himself or how he is perceived by others. It is as if he has finished reading his Jones episode and must now return to his own mundane life. In other words, schizophrenic experience is an experience of isolated, disconnected, discontinuous material signifiers which fail to link into a coherent sequence.
- Works of Maurice Francis Egan;
- Etudes de moeurs. 3e-4e livres. Scènes de la vie parisienne et scènes de la vie politique. T. XII (sic). Splendeurs et misères d (French Edition).
- Melville and the Ungraspable Phantom.
- Farm Boy!
As such, his interactions with Franklin and later with John Paul Jones can be read as a metaphor for the fleeting interactions newspaper and periodical readers would have had with famous tropes and personages. On one page they might achieve a form of personalized intimacy with a famous American hero, on the next they might find themselves shuttled to something totally unrelated.
Deleuze and Guattari suggest that the sort of schizophrenic identity theorized by Jameson enables citizens to resist the hegemonic discourses of the dominant culture. Israel longs to free himself from confinement and the need continually to disguise himself, and to curry favor with more powerful others.
As he patiently endures wave after wave of poverty and hardship in England, Israel keeps hope alive by telling his little son idealized stories about life in America: To these tales of the Fortunate Isles of the Free, recounted by one who had been there, the poor enslaved boy of Moorfields listened, night after night, as to the stories of Sinbad the Sailor. When would his father take him there? The very nature of the market prohibits identity stability, just as Melville repeatedly denies Israel access to any lasting, cohesive, integral selfhood.
Israel Potter is remarkably well-attuned to the zeitgeist of its culture, for it responds to and critiques two seemingly opposed literary trends that were on the ascendant in antebellum America: the literary sketch and jingoistic accounts of the United States and its founding. As noted, Irving was famous for his urbane sketches, which were held together less by an organic interrelationship than by their rendering through the voice of a single, traveling narrator.
Con- versely, transcendentalists searched for timeless continuities between matter and spirit in every aspect of the cosmos. Each particle is a microcosm, and faithfully renders the likeness of the world. Peretz , Eyal. Philbrick , Nathaniel. Schultz, Elizabeth and Haskell Springer, eds. Spanos , William V. Thomson , Shawn. Adamson , Joseph.
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Adler , Joyce Sparer. Branch , Watson G. Brodhead , Richard, ed.
Bryant , John. Davis , Clark. Dimock , Wai-chee.
Feidelson , Charles. Fiedler , Leslie. Finkelstein , Dorothee M. Fredricks , Nancy. Guetti , James. Herbert , T. Hetherington , Hugh W. Karcher , Carolyn L. Kulkarni , Hemant Balvantrao. Levin , Harry. Knopf, Martin , Robert K. Marx , Leo. Mason , Ronald. Melville Grove Press, Miller , Perry. Nickerson , Thomas, Owen Chase, and Others. Nathaniel Philbrick, ed. Penguin: Parker , Hershel, ed. Person , Leland S. Post-Lauria , Sheila. Pullin , Faith, ed. Reynolds , David. Rountree , Thomas J.