Elizabeth Renker

Herman Melville

Moby-Dick, or, The whale

Presenting a broad range of fully annotated selections from the long history of poetry in English, this anthology provides a rich and extensive resource for teaching traditional canons and forms as well as experimental and alternate trajectories (such as Language poetry and prose poetry). In addition to a chronological table of contents suited to a literary-historical course framework, the volume offers a list of conceptual and thematic teaching units called “Poems in Conversation.” Instructors will find the Conversations helpful for lesson plans; students will find them equally helpful as a resource for presentation and paper topics. Headnotes to each poet are designed to be useful to both instructors and students in the classroom: for instructors new to particular poets, the headnotes will provide helpful grounding in the most current scholarship; for students, they will provide frameworks and explanations to help them approach unfamiliar texts. As a unique feature in the current market, this anthology also incorporates contemporary song lyrics from alternative, indie, rap, and hip-hop songs, fully integrated into the Conversations as rich material for teaching in the under­graduate classroom.

Poems: A Concise Anthology

Herman Melville was an intense and tortured writer, plagued by writing anxiety, emotional problems, and painful physical ailments. He produced his extraordinary body of work only with great anguish, and he appears to have inflicted great anguish on those around him. According to Elizabeth Renker, we learn much about Melville's fiction if we see how violent and frustrating the experience of writing was for him. In Strike through the Mask Renker argues that Melville's frustrated engagement with the page - characterized by illegible handwriting, chronically bad spelling, and violent manipulations of text - is the most important source of his work's drama and power. She examines the impact on his writing of his struggles with writer's block and depression. And she explores Melville's complex relationship with women, particularly his wife and sisters, on whom he depended to copy and correct his manuscripts. (Renker's evidence that Melville physically and emotionally abused his wife, Elizabeth Shaw Melville, has already generated attention and controversy). Renker sees Melville's experience of writing reflected in his haunting and enduring theme of disturbing, impenetrable faces. Ahab's famous desire to "strike through the mask" of the dead, blind "pasteboard" wall echoes Melville's own relentless striking through and rewriting in his private battle with the blank page.

Herman Melville and the Scene of Writing

Strike Through the Mask

The terms 'poetry' and 'realism' have a complex and often oppositional relationship in American literary histories of the postbellum period. The core narrative holds that 'realism', the major literary 'movement' of the era, developed apace in prose fiction, while poetry, stuck in a hopelessly idealist late-Romantic mode, languished and stagnated. Poetry is almost entirely absent from scholarship on American literary realism except as the emblem of realism's opposite: a desiccated genteel 'twilight of the poets.' Realist Poetics in American Culture, 1866-1900 refutes the familiar narrative of postbellum poetics as a scene of failure, and it recovers the active and variegated practices of a diverse array of realist poets across print culture. The triumph of the twilight tale in the twentieth century obscured, minimized, and flattened the many poetic discourses of the age, including but not limited to a significant body of realist poems currently missing from US literary histories. Excavating an extensive archive of realist poems, the volume offers a significant revision to the genre-exclusive story of realism and, by extension, to the very foundations of postbellum American literary history dating back to the earliest stages of the discipline.

Elizabeth Renker

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