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The Piazza Tales, by Herman Melville
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The Piazza Tales (1856) is the only collection of short stories by American writer Herman Melville.
Melville had originally intended to entitle the volume Benito Cereno and Other Sketches, but it was The Encantadas, his sketches of the Galápagos Islands, that garnered the most attention from critics.
- Sales Rank: #2019553 in eBooks
- Published on: 2015-02-27
- Released on: 2015-02-27
- Format: Kindle eBook
From Library Journal
The latest in Northwestern's ongoing series of authoritative editions of Melville's works, this volume includes "Bartleby, the Scrivner," "The Bell Tower," and four other short stories.
Copyright 1996 Reed Business Information, Inc.
From the Back Cover
The aim of this edition is to present a text as close to the author's intention as surviving evidence permits.
About the Author
Herman Melville (August 1, 1819 – September 28, 1891) was an American novelist, short story writer, essayist, and poet. He is best known for his novel Moby-Dick. His first three books gained much contemporary attention (the first, Typee, becoming a bestseller), and after a fast-blooming literary success in the late 1840s, his popularity declined precipitously in the mid-1850s and never recovered during his lifetime. When he died in 1891, he was almost completely forgotten. It was not until the "Melville Revival" in the early 20th century that his work won recognition, especially Moby-Dick, which was hailed as one of the literary masterpieces of both American and world literature. He was the first writer to have his works collected and published by the Library of America.
Most helpful customer reviews
6 of 7 people found the following review helpful.
Six tales (including perhaps the best story ever written in English) showing how "truth comes in darkness"
By D. Cloyce Smith
The six stories collected in "The Piazza Tales" range vastly in theme and subject, from the allegorical travelogue of "The Encantadas" to the haunting psychodrama of "Bartleby, the Scrivener." With the exception of the title story (which was original to the collection), they each were published in "Putnam's Magazine," where they were well received and widely read. Although the book (like all of Meville's later work) was a commercial flop, the stories are highly regarded--and rarely read--today.
Opening the volume is "The Piazza," a charming (bordering on precious) pastoral sketch that frames the collection in much the same way that Hawthorne and Irving framed their collections with a stroll around the Manse or a view of Bracebridge Hall. It provides an almost romantic and (for Melville) rare excursion into "fairy-land" in the daylight of the countryside surrounding his home, but at the close of the story the author warns us that "truth comes in darkness."
The best of the five remaining pieces is, surely, "Bartleby, the Scrivener" (possibly my favorite story written in English); it is the most Kafkaesque story not written by Kafka. The narrator, a Wall Street lawyer whose office resembles a claustrophobic dungeon, hires Bartleby, a supremely competent copyist who subverts the safe order and hierarchy of the firm when he replies "I would prefer not to" when requested to execute tasks he'd rather not perform. From the first act of rebellion to the end of the story, the atmosphere resembles Poe as much as it anticipates Kafka; its bleak views of the market, of madness, and of municipal estrangement are unsettling.
The other stories vary in quality. The wickedly subversive satire of "Benito Cerenno" is based on a true incident in which a transport of slaves overtook their captors; Melville revises the original narrative to condemn the covert racism of the narrator, a "Massachusetts man" who captains the ship that encounters the mutineers and whose liberal, patronizing opinion of the Africans is so unnuanced that he is unable to recognize that a rebellion has occurred. To modern readers, it all seems ridiculously unbelievable and, while remarkably ahead of its time, Melville's version of the episode sometimes suffers from attitudes and stereotypes which have themselves become unfashionable and uncomfortable.
Interesting and clever, "The Lightning-Rod Man" and "The Bell Tower," are ultimately unmemorable, but the only tale that doesn't work for me at all is "The Encantadas," a series of ten travel sketches based on Melville's trip to the Galapagos Islands. Rather than presenting a literary version of Darwin's earlier travels, Melville emulates Dante, presenting an allegorical vision of purgatory on earth, of "cut-throats" and "tyrants" and "cannibals" amidst the dichotomy of the landscape's unforgiving harshness and overwhelming beauty. Of the pieces in the collection, these ten sketches received the most critical attention during Melville's lifetime, and they are still considered masterpieces by academics. There are inarguably brilliant passages and poetic descriptions, but the allegory seems labored and the "tale" as a whole pales in comparison to either Darwin or Dante.
2 of 2 people found the following review helpful.
One of Melville's three best books
By R. M. Peterson
Published in 1856, THE PIAZZA TALES contains three moderately long stories and three relatively short ones. The short ones can be skipped. The three long ones are among Melville's more notable works; two of them are special.
1) "Bartleby, The Scrivener" is a classic story, arguably the second most important thing that Melville ever wrote. Andrew Delbanco places it "among the great achievements of world literature."
Bartleby is employed by a Wall Street lawyer to be a copy-clerk. At first he seems to be an almost ideal employee, quietly staying in his assigned corner and doing prodigious amounts of work. But when asked to do anything other than copying -- anything whatsoever, whether running an errand or putting his finger on a string to aid another in tying the knot tight over a stack of papers -- Bartleby quietly, firmly says, "I would prefer not to". Eventually his employer learns that Bartleby has taken to sleeping at the office. He never seems to eat, except for ginger-nuts. After a time he declines to work altogether, even to do any copying. When told that in that event he must go, he answers, "I would prefer not".
To tell what becomes of Bartleby would deprive the first-time reader of the singular experience of finding out for himself. Suffice it to say that the tale becomes Kafkaesque (sixty years before "The Trial"). One interpretation -- prompted in part by the story's subtitle, "A Story of Wall Street" -- is that it is an allegory for what capitalism does to its clerical minions. But that doesn't really capture "Bartleby": it as a story and Herman Melville as an author operate at less pat, deeper levels.
2) As difficult as it is to do justice to "Bartleby" in the space of one-third of an Amazon review, it is equally so in the case of "Benito Cereno". The novella remains one of the foremost works of American fiction to address the pervasive insidiousness of slavery and the stereotype-ridden simple-mindedness with which supposedly enlightened, well-meaning whites regarded Negroes. (E.g., "Captain Delano took to Negroes, not philanthropically but genially, like other men to Newfoundland dogs.")
Melville presents his complex morality tale through the story of two ships that meet by chance at a remote island in the Pacific off South America. One is a New England seal-ship; the other turns out to be a Spanish slave ship. It takes the entire novella for the American captain to learn the story behind the anomalous social structure aboard the slave ship and why its captain, Benito Cereno, is so haggard and acts so frightened and squirrely. It turns out that there had been a rebellion aboard the slave ship and that the Negroes now control it; they had orchestrated an elaborate charade to fool the Americans. The American captain was indeed taken in, and it is easy for modern readers also to be deceived by "Benito Cereno" and to misinterpret it. The novella plays on white fears of slave rebellion, it suggests that such rebellion is justified, and it gives the lie to the popular perception of blacks as inferior to whites in intelligence, cunning, and bravery. One writer who recognized "Benito Cereno" for what it is was Ralph Ellison, who used a crucial extract from it as the epigraph to "Invisible Man".
3) "The Encantadas" is a profile of the Galapagos Islands, then also known as the Encantadas, or Enchanted Isles in Spanish. It consists of ten sketches, several loosely connected. It is partly history and natural history, partly travelogue (Melville had stopped there during his years in the Pacific), and partly fiction. The high points are a sketch of the Galapagos tortoise, the story of a Chola woman marooned on one of the islands after her Spanish husband and her brother died in the surf before her eyes, and the tale of a misanthropic castaway, Oberlus, that strikes me as a precursor of sorts to the fiction of Borges. The content of "The Encantadas" might be only one cut above the ordinary, but the prose is two cuts above. It is different than the prose of "Moby-Dick", less protean, a tad more restrained and relaxed, at times even charming.
2 of 2 people found the following review helpful.
The Lighting-Rod Man
By Nathan Spencer
The Lighting-Rod Man is one of Melville's lesser known stories. Despite the cold, dark setting, it is more comical than most of his works other works. This satire tells about one door-to-door salesman, and how annoying, pushy, and arrogant he was to his perspective customer (Doesn't seem like a lot has change since then), and how he ends up getting thrown out of the house.
The story The Lighting-Rod Man jumps right into the story in the first paragraph and just goes, which makes it much easier to get into and a much easier read for those that have a hard time getting started reading. I feel that it is worthy buying The Piazza Tales even if you just read this one story let alone the five other stories.
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