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Front Cover: (clockwise from top left):
“Tattooing on the face of Tupai Cupa, from a drawing by himself.” From The New Zealanders, by George L.Craik (London: Charles Knight, 1830), 332. Tupai Cupa, according to Harrison Hayford and Hershel Parker, was a model for Queequeg.
“Village of Catskill, Hudson River.” Steelplate engraving from a drawing by W. H. Bartlett. From American Scenery . . . , by N. P. Willis (New York: R. Martin, 1840).
Herman Melville in 1847. Oil portrait by Asa Twitchell. By permission of the Berkshire Athenaeum, Pittsfield, Massachusetts.
Unidentified mid-nineteenth-century daguerreotype portraits produced by Matthew Brady’s studio. Courtesy of the Library of Congress, Prints and Photographs Division, LC-USZ62-110112 and LC-USZ62-110191.
“A Young Nuku Hivan Not Completely Tattooed.” Engraving 8 from Bemerkungen auf einer Reise um die Welt in den Jahren 1803 bis 1807 [Remarks and observations on a voyage around the world from 1803 to 1807], by G. H. von Langsdorff (Frankfurt am Mayn: Verlag Friedrich Wilmans, 1812). Courtesy of Manuscripts, Archives, and Special Collections, Washington State University Libraries.
“Mount Tom, and Connecticut River.” Steelplate engraving from a drawing by W. H. Bartlett. From American Scenery . . . , by N. P. Willis (New York: R. Martin, 1840).

ESQ: A Journal of the American Renaissance

In this Issue

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Picturesque Reform in the New England Village Novel, 1845–1867
John Evelev
pp. 148-183
DOI: https://doi.org/10.1353/esq.0.0003

The Bartleby Industry and Bartleby’s Idleness
Andrew Knighton
pp. 184-215
DOI: https://doi.org/10.1353/esq.0.0004

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Volume 53, Number 3, 2007 (Nos. 208 O.S.)

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