The Eaton Portrait

Herman Melville JOEaton 95ppi 250wBy permission of Houghton Library, Harvard University: 61Z-4

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whale-trp200Leviathan: A Journal of Melville Studies appears three times a year in March, June, and October. We welcome articles, notes, reviews, and creative writing on the life, works, and influence of novelist and poet Herman Melville (1819-1891). Click here for more information.

Melville Electronic Library

mel-thumb-crpd-3The Melville Electronic Library is an online resource for Melville texts. Housed on a Hofstra University server, MEL is being developed and maintained by a group of Melville scholars and digital specialists.

Johns Hopkins University Press

jhup-logoTo join the Melvillle Society and subscribe to Leviathan, visit Leviathan's Johns Hopkins University Press journal site by clicking here.

Melville Society Cultural Project

Melville Society and New Bedford Whaling Museum Cultural Project The New Bedford Whaling Museum in collaboration with The Melville Society is the established home of the Melville Society Cultural Project and Melville Society Archive. The Melville Society Archive is housed at the New Bedford Whaling Museum's Research Library, where significant works from this collection are also on display. The Melville Society Cultural Project also sponsors a book donation program and presents exciting annual events including the Moby-Dick Marathon and a Birthday Lecture.


MSCP Mission Statement

The Melville Society Cultural Project is a research-oriented group of scholars within the Melville Society dedicated to fostering a critical understanding of Herman Melville’s writings, life, and times. The Project, in affiliation with the New Bedford Whaling Museum, collects scholarly and artistic texts related to Melville, oversees the Melville Society’s Archive, and contributes to a wide variety of programming at the Whaling Museum and elsewhere. As teachers and scholars, we seek to promote public awareness of and appreciation for Melville and his writings and assist other scholars and teachers, as well as educational and cultural institutions, in becoming well-informed about the man and his work. In these roles we take seriously the importance of building partnerships across communities to ensure that the humanities survive and thrive outside the academy.


Old Books, New Reading: The Melville Society Archive

at the New Bedford Whaling Museum

Wyn Kelley and Mary K. Bercaw Edwards
February 2013

The Melville Society Archive represents a cordial affiliation between the New Bedford Whaling Museum, its Research Library, and the Melville Society Cultural Project, an academic group dedicated to community outreach and programming organized around the life and works of Herman Melville. The archive, dedicated in 2002, rests on two colossal pillars, the Melville collections of Harrison Hayford and Merton M. Sealts, Jr., towering figures from the seminal generation of Melville scholars. Together they edited the text of Billy Budd read universally today (no easy task, given the state in which Melville left the manuscript at his death) and between them, though not always working together, helped produce the scholarly 15-volume Northwestern-Newberry edition of The Writings of Herman Melville as well as a thorough inventory of Melville's reading, and some of the finest twentieth-century criticism of Melville's works. Their separate bequests to the Melville Society in turn attracted substantial donations from other important scholars and readers of Melville: Elizabeth Schultz, Robert K. Wallace, Thomas Wendel, William Reese, Jill Barnum, Walter Bezanson, Gail Coffler, Charles N. Watson Jr., Joyce Sparer Adler, Robert D. Madison, and others. The archive, now numbering over 2000 volumes, continues to grow and to support outreach projects like a modest research grant to graduate students and our Book Donation program, through which we send surplus books to underserved universities and libraries abroad. To date, we have sent books to Russia, India, China, Palestine, the Ukraine, and Algeria, all of which have a keen interest in Melville.

Like many archives, this one started with certain predictable "old books" goals. We wanted Melville first editions; thanks to Thomas Wendel, we received a beautiful collection of rare volumes. We wanted the best scholarly editions of Melville's works; Hayford, Sealts, and other donors gave them in abundance. Because of Melville's dominance as cultural icon, we looked for illustrated editions, from fine art books to cheap bestsellers, as well as various kinds of adaptations: comic books, editions based on films, abridged editions, books in translation. As an academic organization, we of course wanted the best criticism we could find. Hayford, Sealts, and Wendel gave us a substantial foundation of classic scholarship extending well into the 1980s. We are assembling more recent works as well. We also sought and were delighted to receive working copies and marked books belonging to some of the most important Melville scholars of the twentieth century—a different kind of "rare" book. With guidance from Dennis Marnon, of Harvard University's Houghton Library, we are learning professional standards for scholarly archives and have acquired museum-quality materials for boxing, labeling, and shelving our books and papers.

The particular interests and unique situation of the Melville Society Cultural Project team, however, have led the collection in unexpected directions, and these have enabled forms of scholarship that you might not find in more established scholarly archives. There is first and foremost the fact that the Melville archive is housed in a maritime museum, not a university, as is usually the case. Visitors with an interest in whaling or maritime history and culture will find an unexpectedly rich trove of Melville-related materials. Melville scholars, like the graduate students we support through our research fellowship, can experience the vital synergy of reading Melville in buildings bursting with nautical charts, logbooks, artifacts, paintings, photographs, documents—even whale skeletons. We work across disciplinary boundaries with ease, as the Museum does when it celebrates the Moby-Dick Marathon every January. Michael Dyer, the Maritime Curator, can put together a display case showing artifacts from indigenous South Seas cultures and sailors' diaries right next to Melville's books describing the same places, and NBWM President James Russell or Vice President of Collections and Exhibitions Gregory Galer can throw out a topic and be sure that the MSCP will come back with plenty of ideas. The Melville Archive and the Library's main collection enrich each other in ways we are just learning to appreciate and develop.

In a second feature of our distinctive set of interests, two founders of the MSCP, Elizabeth Schultz and Robert K. Wallace, share a passion for Melville and the arts, and so some of our holdings emphasize either the works of art Melville knew or the artists inspired by Melville. Wallace's research on Melville's print collection engendered the gift by rare books dealer William Reese of forty-four prints and engravings Melville owned. Schultz has lectured at the Museum on our holdings of images by Benton Spruance and other modern artists and has curated a show on Melville in comics and cartoons. Because of Wallace's and Schultz's efforts, George Klauba, a painter of haunting images drawn from Moby-Dick, recently donated his work "The Pod" to the Museum. The MSCP has also put aside funds for new works of art. Our first purchase, a rare volume by Claire Illouz, illustrates Melville's chapter, "The Whiteness of the Whale," with works printed on paper—without ink. We believe that such an emphasis is unusual in either maritime or literary collections, and we hope to continue this innovative effort.

A third area where we have broken new ground is that of Melville's sources. Hayford, himself a collector of and dealer in books, began early in his career to assemble editions and printings of the books Melville used. For instance, Hayford acquired an 1837 Hilliard & Gray edition of The Dramatic Works of William Shakespeare, the same edition and printing as that owned by Melville. (Melville's own copy is in the Houghton Library at Harvard University.) Thus, scholars could read Shakespeare as Melville himself read Shakespeare. Since Hayford's early work, the field of source studies has continued to grow. Some of this work is quite traditional, as Hershel Parker demonstrated in his new book Melville: The Making of the Poet, a close study of the poets Melville read in his long career. To support The Making of the Poet as well as the Northwestern-Newberry volume of Melville's poems, Robert D. Madison, like Hayford before him, assembled a complete collection of the editions Melville used in his development as poet. Madison presented these volumes to the Archive, so we now have an astounding archive of Melville's archive, the books Melville consulted and learned from in order to write his poems.

But in an age when multimedia remixing has become a popular way to adapt and share texts of all kinds, this type of scholarship is no longer traditional; it is cutting edge. When we show students how Melville read and borrowed from his sources, they see remixing practices with which they are deeply familiar. Mary K. Bercaw Edwards's more recent work, on Melville's oral sources, the sailor talk circulating through the Pacific in the nineteenth century (Cannibal Old Me), participates in this larger movement toward recognizing and analyzing the many different sources of artistic inspiration in various media.

A fourth area of interest has less to do with Melville's writings and more with those of Melville scholars. That is the evidence our collection affords of the world of academic scholarship in the twentieth century. Some of this material—correspondence, papers, conference programs, offprints, and records of the early years of the Melville Society—will seem relevant only to a few. Some of it may seem amusing—random jokes and jottings of Melville scholars in unguarded moments. Other material may lend insight into the production of scholarly texts, like the notes and drafts Walter Bezanson and Gail Coffler have donated from their own desks. At worst, the communications passing back and forth among a small group of scholars obsessed with a single author, however genial or insightful they are, may seem elitist or simply meaningless. Should we preserve chummy greetings from one Melville scholar to another? Do we really need to know that one Melville scholar wrote down his sexual dreams on a napkin?

But we would argue that these materials, like the source materials we noted before, have become newly relevant in an age of digital texts and information. Just as we have learned new ways to appreciate authors' appropriations and remixings of other works in the gray areas between print and other media, we have also come to appreciate the blurred boundaries between published and unpublished scholarship. Because there are so few Melville manuscripts, intense interest has long centered on Melville's annotations and jottings in the books he owned and lavishly marked. Likewise, the battered, grubby scholars' desk copies we own in our archive, which might once have been considered unworthy of a scholarly collection, now yield up new information about the way scholars read his texts and come to their conclusions. We own numerous examples of these annotations and marginal thinkings-out-loud.

Furthermore as editors have begun to appreciate what Melville scholar John Bryant calls fluid texts and editing practices—methods, that is, of capturing the different stages or versions of a text as it proceeds from manuscript to print text to adaptation or later edition—these rough stages have become newly revealing and valuable. We own not only the print editions of Hayford's and Sealts's books but also uncorrected proofs of their work and those of others. And we have examples of their works in progress: Sealts's Melville's Reading at different stages; the text of Typee used to check the manuscript version miraculously discovered in 1983; and Parker's galleys of his Melville biography. These show the history of scholarly methods, the development of critical work, and the growth of knowledge that is now central to the field.

These texts also revise our notion of a clubby group of mostly white male scholars bent over their white pages. Regardless of their gender and class, these scholars welcomed new scholars into the world of Melville studies—especially women, at times when there were still precious few. They also labored collaboratively in ways that can inspire us now. Our archive offers a vision of vigorous intellectual exchange, the free sharing of fast-breaking information and, in spite of some famous rivalries and quarrels, a lively culture of fresh criticism of a cultural icon.

In other words, it's not a big leap from the activities of the Melville Society, mid-to-late twentieth century, and the blogs, fan sites, discussion groups, and social networks where much intellectual and cultural work is taking place today. Media scholar Henry Jenkins has called this world a "participatory culture," one in which traditional barriers between experts and novices, critics and fans have become more permeable, making generous forms of creative and intellectual exchange possible.

We may be preserving old books. But we are making possible new ways of reading. The Melville Society archive is valuable to a wide range of contemporary users. To lovers of maritime culture we offer a resource for reading one of the greatest writers of the sea, ships, sailors, and marine life. To scholars of Melville we provide a convenient repository of editions, sources, criticism, scholarly papers, and historical materials. To explorers of media, we supply texts in print, visual, auditory, film, and pop-culture forms for different kinds of sampling. And for thinkers about new media practices, the archive can produce fresh insights into the ways we read and share texts, the communities within which we consume and produce creative work, the activities of mentoring new arrivals and criticizing experts, and our lively social networks outside the academy. Nothing could be more traditional and nothing could be more up-to-date.


The Melville Archive is composed of the following separate collections

Thomas Wendel 300 volumes; Harrison Hayford 951; Merton M. Sealts, Jr. 269; Jay Leyda 22; Robert D. Madison 129; General, including gifts from Walter Bezanson & Gail Coffler, Joyce Sparer Adler, and Douglas Robillard, 600; plus auxiliary Literature of the Sea and Frederick Douglass collections.








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Melville Society Facebook Posts

Greg Lennes Melville's short story, "The Lightning-Rod Man" (1854) still has lessons for us today. The lightning-rod salesman says that to buy his lighting rods, you will be safe. He is the salesman of our fears. He peddled his wares during storms with dire descriptions of ruin and death. He threatens and tries to bully the main character, who is angered. The ending is the main character "seized it (lightning-rod); I snapped it; I dashed it; I trod it; and dragging the dark lightning-king out of my door, flung his elbowed, copper sceptre after him. But spite of my treatment, and spite of my dissuasive talk of him to my neighbors, the Lightning-rod man still dwells in the land; still travels in storm-time, and drives a brave trade with the fears of man." Here is a video of a reading of the tale by Stacy Carson. It was produced by Sharad Patel and Lily Cox­‐Richard (2015):
"The Lightning-­Rod Man" by Herman Melville, 1854 "The Lightning-­Rod Man" by Herman Melville, 1854 Read by Stacy Carson Produced by Sharad Patel and Lily Cox­‐Richard
Greg Lennes
Diane Samuels: The Whale and Other Texts Diane Samuels: The Whale and Other Texts Diane Samuels: The Whale and Other Texts
Feb 7 - March 15, 2018
RECEPTION: Thursday, March 8, 6:00 - 9:00 pm; Artist Talk 7:30 pm

Exhibition at UMass Dartmouth University Art Gallery in Downtown New Bedford, “Diane Samuels: The Whale and Other Texts” is centered around the 8’ wide by 47’ long artwork Moby-Dick, or The Whale. This mesmerizing large scale piece appears to be floating on the gallery floor and spilling off the wall, reflecting on the ocean nearby, the location for the Melville’s famous novel.
Pittsburgh based Diane Samuels who often uses text as a element in her visual vocabulary this time creates waves with her meticulous hand-transcriptions created using all of the 701 pages in the novel. Remnants of archival paper and drawings have been recycled and painted over and, in places, drawn and collaged using images that pertain to the specific text. Each page of the book (also exhibited at the gallery) is hand-written as a horizontal row of the drawing, starting with “Call me Ishmael” at the top of the artwork.

Samuels chose Moby-Dick, or The Whale because of Melville’s descriptions of confrontations with “the other” and his archiving and cataloguing of information about whales and the world. In Chapter Three, Ishmael and Queequeg share a room and a bed at the Spouter-Inn. Ishmael describes his terror in meeting Queequeg. Despite cultural, racial, and language differences, the chapter ends with Ishmael’s statement, “I turned in, and never slept better in my life.”

Accompanying this installation is the compressed sound of the artist reading out loud and hand-transcribing each page, creating a layered “audio block”; a dense sound comprised of words and pages, along with the ambient sounds of the artist’s studio. The audio block is the length of the longest page of the book.

Other artworks also surprise visitors with their intricate hand-transcription in microscript. The Arabian Nights traces the stories told by Scheherazade over 10,000 fragments of papers painted in shades of indigo and crimson and edged in gold. The piece is a literal and figurative “magic carpet” whose central panel is bathed in the blood of the book’s unfortunate heroines and cloaked in the mysterious glow of night.
Salman Rushdie’s “Midnight’s Children,” also visually reflects the content of the book, creating a unique composition made from 1001 pieces of paper made in India and joined to form a map of India on August 15, 1947, its date of independence. The “midnight’s children” of the book’s title are the 1001 children born in the first hour of Indian independence.

The exhibition is open through March 15, 2018, with the reception on Thursday, March 8, 6:00 - 9:00 pm. The artist talk, as well as audio recording will begin at 7:30 pm.
The Whale and Other Text was curated by Viera Levitt, UMass Dartmouth Gallery Director, born in Slovakia, where she had assisted Diane in her 1998 sound based site-specific installation for the Synagogue - Centre for Contemporary Art in Trnava.

Thanks to Kris Nuzzi and the Pavel Zoubok Gallery for their wonderful collaboration on this exhibition.

Diane Samuels is a visual artist, with studio and public art practices based in Pittsburgh. In both she uses other peoples’ words and handwriting as her literal and figurative raw material. She builds works that accrete from community engagements, layer by layer: layers made of words from interviews and informal conversations with people on the street, in cafes, in their homes; layers made of places from castings, drawings, photographs, audio, maps; and layers made from archival documents, narratives of events, histories, memoirs, folk tales, and literature. She has made drawings by writing out the texts of entire novels in micro-handwriting, converted a two-story glass pedestrian bridge into an anthology of phrases about looking at the world closely, and created artist’s books from sessions transcribing storytellers.
Diane's permanent site-specific artworks include Luminous Manuscript (Center for Jewish History New York) and Lines of Sight (Brown University). Luminous Manuscript was awarded an IFRAA/Faith & Form Award for Religious Art and Architecture in 2005 and is included in Judith Dupré’s 2007 (Random House) book, Monuments: America’s History in Art and Memory.
Her exhibitions include the Andy Warhol Museum, the Carnegie Museum of Art, the Mattress Factory Museum, the Leo Baeck Institute, the Center for Book Arts, the Aldrich Contemporary Art Museum, the Contemporary Arts Center of Cincinnati, the Municipal Museum of Art (Gyor, Hungary), the Synagogue Center (Trnava, Slovakia), the Bernheimer Realschule (Buttenhausen, Germany), and the Czech Museum of Fine Arts.
Diane's work is in public and private collections including the Carnegie Museum of Art, Bank of New York Mellon, Reed College, Municipal Museum of Art (Gyor, Hungary), the Ruth and Marvin Sackner Archive of Concrete and Visual Poetry.
Samuels holds both a bachelor’s and master’s degree in fine arts from Carnegie Mellon University, a diploma from the Institute in Arts Administration at Harvard University and has received honorary doctorates from Seton Hill University and Chatham University. She is also co-founder of City of Asylum Pittsburgh, which provides sanctuary to writers in exile. Samuels is a former board member of the Carnegie Museum of Art and the National Catholic Center for Holocaust Education, and is a Distinguished Daughter of Pennsylvania. In 2013 she was recipient of a Rockefeller Bellagio Residency in Italy and an American Academy in Jerusalem Fellowship.
Diane Samuels works with the Pavel Zoubok Gallery in New York City.

Image: Moby Dick, Or The Whale, Herman Melville, 2015
Ink on handmade paper, 96 x 564 inches. Courtesy of the artist and Pavel Zoubok Gallery. Photo by Thomas Little

University Art Gallery
College of Visual and Performing Arts
UMass Dartmouth, 715 Purchase Street, New Bedford, MA 02740
Contact: Viera Levitt, Gallery Director and Exhibition Curator,
Gallery Hours: 9 am - 6 pm daily, closed on major holidays.
Open until 9 pm during AHA! Nights (the second Thursday of every month).
Greg Lennes Kimble Bromley, Professor of Art at North Dakota State University, will exhibit his Moby-Dick painting series at the Muscatine Art Center (Iowa) from February 15th through April 12th, 2018. 2018-02-19T15:41:59+0000
Greg Lennes From Rhode Island Public Radio: "One Square Mile: Walk A Mile In Ishmael's New Bedford" by John Bender:
One Square Mile: Walk A Mile In Ishmael's New Bedford New Bedford is the destination for devotees of one famous literary leviathan -- Herman Melville's "Moby-Dick."
Greg Lennes From Aeon: Melville and Financial World by Matt Seybold.
Herman Melville "Confidence is the indispensable basis of all sorts of business transactions. Without it, commerce between man and man, as between country and country, would, like a watch, run down and stop."
—from "The Confidence-Man" by Herman Melville

via Aeon
Meredith Farmer We're happy to announce the first CFP for our MLA panels at MLA 2019! CFP: READING THE CONFIDENCE-MAN TODAY What types of interpretations come up when someone reads the The Confidence-Man in light of recent events? Presenters should offer short, reflective pieces (8 minutes) that provoke discussion. Although a lack of faith (or confidence) in political institutions is a major part of news reports today, presenters may focus on any of the topics brought up in Melville’s book, including stocks and finance, religious organizations, charity, racial identity, belief, and other considerations. Other approaches could include reflections on reading historically or the dynamics of re-reading today. Please send 250-word abstracts and brief bios to Rodrigo Lazo at by March 13.
Greg Lennes Melvillean Philosophy (Humor): "There are unknown worlds of knowledge in brutes; and whenever you mark a horse, or a dog, with a peculiarly mild, calm, deep-seated eye, be sure he is an Aristotle or a Kant, tranquilly speculating upon the mysteries in man. No philosophers so thoroughly comprehend us as dogs and horses." Redburn. His First Voyage - Chapter XL. :) 2018-02-16T21:00:37+0000
Robert Sandberg MLA Conference - 2019 - Chicago: The Melville Society's "Call for Papers" is now available on the Melville Society website
The Melville Society - Call for Papers: MLA 2019 - Reading The Confidence-Man Today & Melville’s Quarrel with Modernity A society dedicated to the study and appreciation of the nineteenth-century American author Herman Melville
Greg Lennes "Moby Dick Deckle Edges Spotlight Tour "(March 16th) - Frank Stella Artwork - discussion led by Robert K. Wallace at Pizzuti Collection in Columbus, Ohio:
Moby Dick Deckle Edges Spotlight Tour Join us on March 16 for a spotlight tour with Professor Robert K. Wallace. Robert will discuss the Moby Dick Deckle Edges prints in the context of other works by Stella on view in the Lines/Edges: Frank Stella On Paper exhibition.
Eileen Valentino Flaxman When I joined The Melville Society FB page last August, you were just breaking a thousand followers. And now you're about to break 2,000. Congratulations! Here is my latest contribution from my project to write a poem for every chapter in Moby-Dick. (Lines from the text are in quotations.) Chapter 59 - Squid. -- Plenty of action and violence takes place in this novel. But there are also days of calm . . . floating on a glassy sea without swells or even the promise of a leviathan and with no chatter from a listless crew . . . A 'profound hush' surrounds the Pequod as it drifts in the middle of nowhere, with 'a stillness almost preternatural spread over the sea'. At such a time, what goes on inside a sailor's mind? Thoughts of home? Other ways to earn a living? Ennui? As a man looks out over endless nothingness, do thoughts churn busily inside his skull . . . or is Ismael an Anomaly?
Meredith Farmer We're happy to announce the second CFP for our MLA panels at MLA 2019! CFP: MELVILLE'S QUARREL WITH MODERNITY In anticipation of an energized year in Melville studies (when on the 200th anniversary of his birth we consider Melville’s significance in the present moment) contributors to this panel will reflect on a vital but largely unexplored feature of Melville’s thinking: his quarrel with modernity. Melville is not recognized for the clarity of his philosophical arguments. At best, his philosophizing is dismissed as ingenious but muddled. But perhaps Melville’s philosophical arguments have been hard to grasp because they have been miscategorized; they have been taken to embody the ethos of the distinctively modern world (that is, after the defining work of Descartes and Locke) when in fact what they offer is nothing less than a wide-ranging rejection of modernity’s dominant assumptions. On this panel, accordingly, we will use Melville’s writing to turn a harsh light on some of the beliefs that characterize modern Western thought. Melville’s writing has meant many things to many people, but as yet it has not been seen as a way to unite or bring into conversation the growing number of theorists resisting the modernity narrative—theorists making an effort to knock down the edifice of dualism, think carefully about where the nature-culture binary has come from (and what we might imagine in its place), cast doubt on the view that the body is inessential to mind, and in other ways question the account of the world offered by the moderns. Please send 300-500 words and a vita to K.L. Evans at by March 19.
Chad Beck Moby-Dick is discussed at 39:00. Also relevant (and leading directly into M-D) is a discussion about Job (31:23).
Russell Brand & Jordan Peterson - Kindness VS Power | Under The Skin #46 Recently making the headlines after a combative interview about the gender pay gap with Channel 4’s Cathy Newman, my guest today is Jordan Peterson, who disc...
Greg Lennes Melvillean Humor for Valentine's Day - Melville's First Draft of Moby-Dick: Comic strip by Mikey Heller (2014) :) 2018-02-14T17:59:34+0000
Greg Lennes Moby-Dick stars on Antiques Roadshow on PBS TV (2/12/18) video - Appraisal of Moby-Dick edition illustrated by Rockwell Kent and published by Lakeside Press 1930.
Appraisal: 1930 Rockwell Kent-Illustrated "Moby Dick" Set | Antiques Roadshow | PBS Appraisal: 1930 Rockwell Kent-Illustrated "Moby Dick" Set in New Orleans, LA.
Greg Lennes The final volume of the Northwestern-Newberry THE WRITINGS OF HERMAN MELVILLE--LAST OF 15 VOLUMES in hardback - a major literary accomplishment. 2018-02-14T14:20:22+0000
Greg Lennes REMINDER: March 1st deadline for registration for the two-week program called “Teaching Melville” that will take place this summer in New Bedford. The Whaling Museum will host the event which will take place from June 17th through the 30th. Go to website for details.
Teaching Melville An Institute for School Teachers on Herman Melville’s "Moby-Dick" and the World of Whaling in the Digital Age
Karen Lentz Madison Melvilleans!
Robert Sandberg A Call for Book Proposals: From Richard King of the University Press of New England The University Press of New England and the Williams College-Mystic Seaport Maritime Studies Program seek book proposals for our “Seafaring America” series. We are looking for works in three categories: 1. Suggestions for timely reissues of forgotten, out-of-print American works of literary and cultural distinction, with new introductions that frame the work for a modern audience. 2. Proposals for anthologies and/or selected editions of writers’ work. 3. Proposals for books of original scholarship or of general interest, according to the series mission below. We have particular interest in underrepresented voices and “blue” environmental studies. _______________________ “Seafaring America” is a series of original and classic works of fiction, nonfiction, poetry, and drama exploring the history of America’s engagement with our oceans and coastlines. Spanning diverse eras, populations, and geographical settings, the series strives to introduce, revive, and aggregate a wide range of exemplary and/or seminal stories about our American maritime heritage. This includes the accounts of First Peoples, explorers, voluntary and forced immigrants, women in maritime communities, fishermen, whalers, captains, common sailors, members of the navy and coast guard, marine biologists and oceanographers, and the crews of vessels ranging from lifeboats, riverboats, and tugboats to recreational yachts. “Seafaring America” introduces new stories of maritime interest and reprints books that have fallen out of circulation and deserve reappraisal. The series also publishes selections from well-known works that warrant reconsideration because of the lessons they offer about our relationship with our watery planet.
UPNE | Seafaring America Series Editor: Richard J. King, Williams College-Mystic SeaportSeafaring America is a series of original and classic works of nonfiction, fiction, poetry, and drama exploring the history of America’s engagement with our oceans and coastlines. Spanning diverse eras, perspectives, and geographical s...
Greg Lennes To the wealthy Melvillean: Auction for a first edition of Moby-Dick ending March 7th. 2018-02-13T19:36:41+0000


Fellowships and Scholarships

Melville Society Archive
Walter E. Bezanson Fellowship
The Melville Society, under the auspices of the Melville Society Cultural Project in New Bedford, offers an annual fellowship to help a scholar undertake research on Herman Melville at the Society’s Archive in the Research Library of the Whaling Museum in New Bedford, Massachusetts.


Click here for more information and application details.


New York Public Library
Short-term Research Fellowships


Graduate students or other affiliated academics whose work would benefit from visiting the Manuscripts and Archives Division to view collections such as the Gansevoort-Lansing collection, and Duyckinck family papers are encouraged to apply.


Click here for more information and application details.

From Our Photo Collections

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click to start slideshow

Woodlawn Cemetary

WoodlawnWoodlawn Cemetary - final resting place of Herman, his wife, Elizabeth, and other family members. Click here to view photos of the gravesites.

125th Anniversary Celebration

125th Woodlawn

A celebration of Melville's life at Woodlawn Cemetary on the 125th anniversary of his passing.

Lansingburgh Historical Society

Melville House

Melville lived for nine years in this Lansingburgh house. It was here that he wrote Typee and Omoo

Berkshire Historical Society

ArrowheadMelville's Arrowhead home and farm in Pittsfield, MA where he wrote Moby-Dick and lived for most of the 1850s.