This is the first major effort in twenty years to reassess the relationship between Melville and Hawthorne.Herman Melville and Nathaniel Hawthorne met in 1850 and enjoyed for sixteen months an intense but brief friendship. Taking advantage of new interpretive tools such as queer theory, globalist studies, political and social ideology, marketplace analysis, psychoanalytical and philosophical applications to literature, masculinist theory, and critical studies of race, the twelve essays in this book focus on a number of provocative personal, professional, and literary ambiguities existing between the two writers.Jana L. Argersinger and Leland S. Person introduce the volume with a lively summary of the known biographical facts of the two writers' relationship and an overview of the relevant scholarship to date. Some of the essays that follow broach the possibility of sexual dimensions to the relationship, a question that ""looms like a grand hooded phantom"" over the field of Melville-Hawthorne studies. Questions of influence - Hawthorne's on Moby-Dick and Pierre and Melville's on The Blithedale Romance, to mention only the most obvious instances - are also discussed. The other topics covered include professional competitiveness; Melville's search for a father figure; masculine ambivalence in the marketplace; and political-literary aspects of nationalism, transcendentalism, race, and other defining issues of Hawthorne and Melville's times.Roughly half of the essays focus on biographical issues; the others take literary perspectives. The essays are informed by a variety of critical approaches, as well as by new historical insights and new understandings of the possibilities that existed for male friendships in nineteenth-century American culture.

Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.

Melville's City argues that Melville's relationship to the city was considerably more complex than has generally been believed. By placing him in the historical and cultural context of nineteenth-century New York, Kelley presents a Melville who borrowed from the colourful cultural variety of the city while at the same time investigating its darker and more dangerous social aspects. She shows that images both from Melville and from popular sources of the time represented New York variously as Capital, Labyrinth, City of Man and City of God and she goes on the demonstrate that he resisted a generalising or totalising representation of the city by revealing its hybrid identity and giving voice to the poor, the displaced and the racially excluded. Through close examination of works spanning Melville's career, Kelley forges an analysis of connections between urban and literary form.

Melville's City argues that Melville's relationship to the city is considerably more complex than has generally been believed. By placing him in the historical and cultural context of nineteenth-century New York, Kelley presents a Melville who borrows from the colorful cultural variety of the city while at the same time investigating its darker and more dangerous social aspects. Through examination of works spanning Melville's career, she forges a new analysis of the connections between urban and literary form.