Herman Melville

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In 1865, Melville gave his four young children back issues of Harper’s Magazine as Christmas presents. Harper and Brothers first worked with Herman Melville on his dubiously autobiographical novel Omoo: A Narrative of the South Seas (1847). The book was the sequel to his bestselling Typee: A Peep at Polynesian Life (1846), a fictionalization of his time on the whaling vessel Lucy Ann, which the Harper brothers had earlier rejected because “it was impossible that it could be true and therefore was without real value.” Melville’s first story for Harper’s Magazine appeared in the year-old periodical’s October 1851 issue; called “The Town-Ho’s Story,” it constitutes the fifty-fourth chapter of Moby-Dick, which was published a month later to critical revilement and commercial disinterest. In “The Town-Ho’s Story,” Ishmael recounts his shipboard adventures for “a lounging circle of my Spanish friends,” who doubt his honesty.

In the years immediately after the publication of Moby-Dick and the similarly received Pierre: or, The Ambiguities (1852), Melville supplied Harper’s with several more stories, three of which were about recovering from failure. Another was a euphemistic romp called “Cock-A-Doodle-Doo!” After the novel The Confidence-Man (1857) met with the usual scorn, Melville turned to poetry, publishing five poems about the Civil War in Harper’s in 1866. They were included in the collection Battle-Pieces and Other Aspects of the War (1866), the last non-self-published work in his lifetime. In 1890, Harper’s included the largely forgotten author in an article called “American Literary Comedians,” and in the following year’s December issue he received a two-line obituary: “September 27th.—In New York city, Herman Melville, aged seventy-three years.”

Melville received renewed attention following twentieth-century reconsiderations by D. H. Lawrence, Carl Van Doren, and Raymond Weaver, among others; the posthumous publication of his unfinished Billy Budd (1924), which Thomas Mann called “the most beautiful story in the world,” further propelled his revival. “Call me Ishmael” is today one of the most famous lines in English literature, and the Library of America has chosen Melville as one of the first eight writers it would publish. In 2010, paleontologists named a newly discovered twelve-million-year-old giant sperm whale Livyatan melvillei.

Wraparound — From the July 1975 issue

Wraparound

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Wraparound — From the May 1973 issue

Reports

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The laugh is on you

Poetry — From the July 1866 issue

Gettysburg

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–July, 1863

Poetry — From the June 1866 issue

Chattanooga

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Poetry — From the April 1866 issue

Philip

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Poetry — From the March 1866 issue

The Cumberland

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Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

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"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
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He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
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The Old Man·

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The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

Illustration (detail) by Jen Renninger
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With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
Still from The People vs. OJ Simpson: American Crime Story © FX Networks

Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

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Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'

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