The present book explores a variety of fundamental questions that all of us secretly share. Its twenty-one chapters, written by some of the world’s leading Melville and Conrad scholars, indicate possible directions of comparativist insight into the continuity and transformations of western existentialist thought between the 19th and 20th centuries. The existential philosophy of participation—so mistrustful of analytical categories—is epitomized by the lives and oeuvres of Melville and Conrad. Born in the immediacy of experience, this philosophy finds its expression in uncertain tropes and faith-based actions; rather than muffle the horror vacui with words, it plunges head first into liminality, where logos dissolves into a “positive nothing.” Unlike analytical philosophers, both Melville and Conrad refrain from talking about reality: they expose those who would listen to a first-hand experience of participation in an interpretive act. Employing literary tropes to denude the essence of the human condition, they allow their readers to transgress the limitations of language. Mistrustful of language, they accept the necessity of discourse which, to make sense, must be actively reshaped, endlessly questioned, and constantly revised. And if uncertainty is the only certainty available to us, our lowly human condition also necessitates compassion: an existential cure against the liquid, capricious reality we are afforded.

The volume came about as a result of a joint effort at a bifocal reflection of the international community of Melvillians and Conradians in Szczecin, Poland, in August 2007. What became clear in formal and informal discussion among the participants of that international gam was that Herman Melville and Joseph Conrad Korzeniowski shared the intuition that the essential liquidity of the existential human condition necessitates a “universal squeeze of the hand.” This idea, beautifully conceptualized by Melville in chapter 94 of Moby-Dick, caused both writers to examine in their complex narratives the ways in which various kinds of oppression prevent this desired possibility (read more in the Introduction).

Details Lawrence's reception of Melville and reveals his underacknowledged role in the Melville Revival, while contributing to the history of the book and the study of the creative process.

This rich volume of essays restores meaning itself as the focal point of one of our most thoughtful modern writers, Herman Melville. Melville and the Question of Meaning thinks about thinking in Melville. For if Melville’s concerns with interpretation (the contributors to one recent collection variously read the author for "the ‘meaning’ of the characters," the "meaning" of the "body," "recesses of meaning," "deepest levels of meaning," "double meaning," and the "meaning" of "being" and "everything else") overlap with our own concerns, at a cultural moment when meaning feels especially strained, we have lost sight of the central place of meaning making in Melville’s work. My own readings in Melville are a pedestrian’s guide through the self-conscious complications of meaning we meet with in Melville across a range of different disciplines and endeavors. Combining aesthetics and sociolinguistics, history and theory, rhetoric and politics, philosophy and film studies, Melville and the Question of Meaning demonstrates that the project of making meaning in Melville remains as vital as ever.

The New Cambridge Companion to Herman Melville provides timely, critical essays on Melville's classic works. The essays have been specially commissioned for this volume and provide a complete overview of Melville's career. Melville's major novels are discussed, along with a range of his short fiction and poetry, including neglected works ripe for rediscovery. The volume includes essays on such new topics as Melville and oceanic studies, Melville and animal studies, and Melville and the planetary, along with a number of essays that focus on form and aesthetics. Written at a level both challenging and accessible, this New Companion brings together a team of leading international scholars to offer students of American literature the most comprehensive introduction available to Melville's art.

Examining the notion of migration and transnationalism within the life and work of Joseph Conrad, this book situates the multicultural and transnational characters that comprise his fiction while locating Conrad as a subject of the Russian state whose provenance is Polish, but whose identity is that of a merchant sailor and English country gentleman. Conrad's characters are often marked by crossings – changes of nation, changes of culture, changes of identity – which refract Conrad's own cultural transitions. These crossings not only subjectivise the experience of the migrant through the modern complexities of technology and speed, but also through cross-cultural encounters of food and language. Collectively, these essays explore the experience of the migrant as exile; the inescapable intermeshing of migration, modernity and transnationalism as well as Conrad's own global and multicultural outlook. Conrad's work writes across historical, political and ethnic borders speaking to a transnational reality that continues to have relevance today.

The nineteenth century was a time of extraordinary attunement to the unspoken, the elusively present, and the subtly haunting. Quiet Testimony finds in such attunement a valuable rethinking of what it means to encounter the truth. It argues that four key writers—Emerson, Douglass, Melville, and Henry James—open up the domain of the witness by articulating quietude’s claim on the clamoring world. The premise of quiet testimony responds to urgent questions in critical theory and human rights. Emerson is brought into conversation with Levinas, and Douglass is considered alongside Agamben. Yet the book is steeped in the intellectual climate of the nineteenth century, in which speech and meaning might exceed the bounds of the recognized human subject. In this context, Melville’s characters could read the weather, and James’s could spend an evening with dead companions. By following the path by which ostensibly unremarkable entities come to voice, Quiet Testimony suggests new configurations for ethics, politics, and the literary.

Engaging with contemporary issues responsibly and creatively can become a very abstract activity. We can sometimes find ourselves talking in terms of theories and philosophies which bear very little resemblance to how life is actually lived and experienced. In Thinking in the World, Jill Bennett and Mary Zournazi curate writings and conversations with some of the most influential thinkers in the world and ask them not just why we should engage with the world ,but also how we might do this. Rather than simply thinking about the world, the authors examine the ways in which we think in and with the world. Whether it's how to be environmentally responsible, how to think in film, or how to dance with a non-human, the need to engage meaningfully in a lived way is at the forefront of this collection. Thinking in the World showcases some of the most compelling arguments for a philosophy in action. Including wholly original, never-before-released material from Michel Serres, Alphonso Lingis, and Mieke Bal, the different chapters in this book constitute dialogues and approachable essays, as well as impassioned arguments for a particular way of approaching thinking in the world.

This Norton Critical Edition includes four stories—two set on stormy seas, two on calm seas, all four based on the same incident—that speak to each other in interesting ways. The stories in this Norton Critical Edition maintain the connection and sequencing that Joseph Conrad saw among them. In his “Author’s Note” to ‘Twixt Land and Sea, Conrad writes of his two “Calm-pieces” (“The Secret Sharer” and The Shadow-Line) and his two “Storm-pieces” (The Nigger of the “Narcissus” and “Typhoon”). This edition is based on the first English book edition for the stories and the first American edition for the “Author’s Note” for The Shadow-Line, “Typhoon,” and “The Secret Sharer.” The stories are accompanied by explanatory annotations, a note on the texts (including a list of textual emendations), and a preface. “Backgrounds and Contexts” brings together relevant correspondence and contemporary reviews from both British and American sources. Also included are documents related to Conrad’s sources for the stories, among them Charles Arthur Sankey’s “Ordeal of the Cutty Sark: A True Story of Mutiny, Murder on the High Seas.” To help readers navigate, the editor includes a glossary of nautical terms as well as diagrams of the kinds of ships that appear in the stories. “Criticism” includes fifteen essays representing both new and established voices. The essays are arranged by story, with the focus on Conrad’s major themes—colonialism, narrative, gender, and race. Albert J. Guerard, Lillian Nayder, Mark D. Larabee, Fredric Jameson, F. R. Leavis, and John G. Peters are among the contributors. A chronology of Conrad’s life and work and a selected bibliography are also included.

This Norton Critical Edition includes four stories—two set on stormy seas, two on calm seas, all four based on the same incident—that speak to each other in interesting ways. The stories in this Norton Critical Edition maintain the connection and sequencing that Joseph Conrad saw among them. In his “Author’s Note” to ‘Twixt Land and Sea, Conrad writes of his two “Calm-pieces” (“The Secret Sharer” and The Shadow-Line) and his two “Storm-pieces” (The Nigger of the “Narcissus” and “Typhoon”). This edition is based on the first English book edition for the stories and the first American edition for the “Author’s Note” for The Shadow-Line, “Typhoon,” and “The Secret Sharer.” The stories are accompanied by explanatory annotations, a note on the texts (including a list of textual emendations), and a preface. “Backgrounds and Contexts” brings together relevant correspondence and contemporary reviews from both British and American sources. Also included are documents related to Conrad’s sources for the stories, among them Charles Arthur Sankey’s “Ordeal of the Cutty Sark: A True Story of Mutiny, Murder on the High Seas.” To help readers navigate, the editor includes a glossary of nautical terms as well as diagrams of the kinds of ships that appear in the stories. “Criticism” includes fifteen essays representing both new and established voices. The essays are arranged by story, with the focus on Conrad’s major themes—colonialism, narrative, gender, and race. Albert J. Guerard, Lillian Nayder, Mark D. Larabee, Fredric Jameson, F. R. Leavis, and John G. Peters are among the contributors. A chronology of Conrad’s life and work and a selected bibliography are also included.