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Elephant in a world where you can be anything be kind poster

Melville’s writing Elephant in a world where you can be anything be kind poster style shows both consistencies and enormous changes throughout the years. His development “had been abnormally postponed, and when it came, it came with a rush and a force that had the menace of quick exhaustion in it”. As early as “Fragments from a Writing Desk”, written when Melville was 20, scholar Sealts sees “a number of elements that anticipate Melville’s later writing, especially his characteristic habit of abundant literary allusion”. Typee and Omoo were documentary adventures that called for a division of the narrative in short chapters. Such compact organization bears the risk of fragmentation when applied to a lengthy work such as Mardi, but with Redburn and White Jacket, Melville turned the short chapter into a concentrated narrative.

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Some chapters of Moby-Dick are no Elephant in a world where you can be anything be kind poster more than two pages in standard editions, and an extreme example is Chapter 122, consisting of a single paragraph of 36 words. The skillful handling of chapters in Moby-Dick is one of the most fully developed Melvillean signatures, and is a measure of his masterly writing style. Individual chapters have become “a touchstone for appreciation of Melville’s art and for explanation” of his themes. In contrast, the chapters in Pierre, called Books, are divided into short numbered sections, seemingly an “odd formal compromise” between Melville’s natural length and his purpose to write a regular romance that called for longer chapters. As satirical elements were introduced, the chapter arrangement restores “some degree of organization and pace from the chaos”. The usual chapter unit then reappears for Israel Potter, The Confidence-Man and even Clarel, but only becomes “a vital part in the whole creative achievement” again in the juxtaposition of accents and of topics in Billy Budd.

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