Edo period, 18th-19th c., color on paper: Tokyo National Museum
Avast! Here be spoilers!
I loved this book. But this isn’t about my feelings; this is about how Melville wrote a truly radical book, a book that turns the world upside-down, one of the Best. Books. Ever.
Moby Dick begins as the story of a fastidious Yankee schoolmaster who signs onto a whaling voyage but finds himself in the realm of topsy-turvy. At first he is terrified and disgusted by his boarding house’s filth and by his bedmate, Queequeg, a South Pacific cannibal, idolater, and tattooed guy. But Queequeg’s affection, integrity, and bravery destroy many of our whaler’s prejudices about race, nation, religion, and relationships between men: “Thus, then, in our hearts’ honeymoon, lay I and Queequeg—a cosy, loving pair.” He even consents to worship Queequeg’s little carved idol Yojo: after all, if his own Presbyterianism demands that he do unto others blah blah blah, and if he would have Queequeg join his own faith, “Consequently, I must then unite with him in his; ergo, I must turn idolator.” So far this is all charming, funny, and slyly subversive. But Melville’s project seeks to upset even more fundamental prejudices about humans, nature, and God: that these categories exist in hierarchy, that they are not interchangeable, and that they possess any discrete characteristics at all.