Maurice Sendak’s Rare, Sensual Illustrations for Herman Melville’s Greatest Commercial Failure and Most Personally Beloved Bookby Maria Popova
“The strongest and fieriest emotions of life defy all analytical insight.”
Something magical happens when a great artist interprets a great author — one need only look at William Blake’s paintings for Milton’s Paradise Lost, Picasso’s 1934 drawings for a naughty ancient Greek comedy, Matisse’s 1935 etchings for Ulysses, and Salvador Dalí’s literary illustrations for Cervantes’s Don Quixote, Dante’s Divine Comedy, Shakespeare’s Romeo and Juliet, and the essays of Montaigne. But one of the most extraordinary such “collaborations” across creative culture’s space-time continuum came in the form of a now-rare 1995 Kraken edition of Herman Melville‘s controversial 1852 novel Pierre; or, the Ambiguities (public library), illustrated by none other than Maurice Sendak.
The story of the book itself — an absolute disaster for Melville both critically and financially, and yet one he considered his “kraken book,” a book eclipsing Moby-Dick in its profound potency like the mythic kraken outshines the whale in might — is at least as scandalous as its plot.
In 1850, Melville wrote in a letter that “a book in a man’s brain is better off than a book bound in calf — at any rate it is safer from criticism.” The following year, when Moby-Dick was published, the critical reception validated his fear — reviewers eviscerated the book, which Melville considered his greatest work to date, as irreverent and blasphemous. Though Melville’s style was praised by some for its ingenuity, most critics issued scathing remarks about it, including one prominent British reviewer’s assertion that it was an “ill-compounded mixture of romance and matter-of-fact.”
As the reviews were pouring in, Melville wrote in a letter to his friend and great champion Nathaniel Hawthorne in June of 1851:
Though I wrote the Gospels in this century, I should die in the gutter.
He proved heartbreakingly right: It took more than seventy years after Melville died a penniless customs agent for Moby-Dick to be extolled as one of the greatest books of all time.
So when Melville walked into the Harper & Brothers publishing office on January 2, 1852, with a copy of his Pierre manuscript, he was doubly embittered by how deftly reviewers had validated his prior grim fears about criticism. For their part, the Harper brothers were less than eager to publish a new book by an author whose most recent novel had done so dismally. Too polite and political to give Melville an outright rejection, they instead channeled their reservations by offering him a humiliating contract — instead of their standard author royalty rate of 50 cents on the dollar, they offered him 20 cents. This automatically meant that Pierre would have to sell 2.5 as many copies as his other books in order to yield Melville the share he had previously gotten — a share, no less, with which he had still run into considerable debt to the firm.
Desperate and resigned, Melville decided not to pitch the book to other publishers and signed the Harper & Row contract on February 20, 1852.
But then he did something even crazier — something that would seal the book’s tragic fate: He decided to enlarge the original 360-page manuscript with an additional 150 pages, in which he took the already extravagant plot to preposterous lengths. After book XVI, he inserted a section titled “Young America in Literature,” lacing it with his satirical, thinly veiled personal gripes against the literary establishment. (In one particularly vivid passage, he envisioned “the highly improbable event of the near approach of the Millennium, which might establish a different dynasty of taste, and possibly eject the editors.”)
The book all but perished, both in sales and in critical reception. Critics dismissed it as “perhaps, the craziest fiction extant” (The Boston Post) and “a confused phantasmagoria of distorted fancies and conceits, ghostly abstractions and fitful shadows” (New York Literary World) — the latter being the most burning of the bunch, as it was penned by editor Evert Duyckinck, the very friend with whom Melville had shared his prescient lament about criticism two years earlier.
But in the twentieth century, Pierre found its two greatest champions — Melville scholar Herschel Parker and the great Maurice Sendak, who considered it Melville’s greatest novel and who had previously illustrated another literary titan. So when Parker approached the beloved artist about the Kraken edition, Sendak was thrilled — doubly so because the book’s unabashed blend of sensuality, nightmarishness, and ambiguity mirrored his own aesthetic and paralleled the sensibility of his greatest lifelong influence, William Blake.
In fact, Sendak had independently begun working on drawings for Pierre after attending the 1991 Melville Centennial Conference. He found in this unusual, extravagant, almost ludicrous yet remarkably layered text the perfect canvas for equally over-the-top pictorial representation. The resulting drawings — by far the most sexually expressive of any of his work, featuring 27 discernible nipples and 11 male “packages,” three of which unclothed — are unlike anything Sendak created before or since. Bold, unapologetic, and incredibly sensual, the illustrations are also subtly subversive in their treatment of gender identity and stereotypes, from Pierre’s effeminate body-choreography to Isabel’s scrumptiously muscular back à la Venus with Biceps. This subversion was a subject close to Sendak’s heart, as a gay man who came of age decades before marriage equality and shared the last half-century of his life with his partner, Eugene Glynn, but it was nonetheless a subject he never explored directly.
The Kraken edition, however, is remarkable not only in inviting Sendak’s striking drawings, but also in restoring the Melville text to its original form, before his embittered 150-page addition. It is intended, as Parker notes in the introduction, “to supplement (not to rival) the text Harper published.” He writes:
[This edition] will at last make it feasible for lovers of Melville to comprehend his original design for the book and his original achievements in it.” Equally important, this version of Pierre will illuminate Moby-Dick. Even readers who have long loved Moby-Dick will perceive its psychological stature more clearly in the light shed by the book Melville wrote next — the short version of Pierre, surely the finest psychological novel anyone had yet written in English.
Indeed, Pierre‘s psychoemotional subtlety is perhaps best captured in a meta way, in this exquisite Melville line from Book IV of the novel:
In their precise tracings-out and subtile causations, the strongest and fieriest emotions of life defy all analytical insight.
The Kraken edition of Pierre; or, the Ambiguities is currently out of print but is oh-so-much worth the hunt. Complement it with Sendak’s rarest, most defining illustrations, his little-known posters celebrating books and the love of reading, and his posthumous love letter to the world.