Moby Dick
At university Herman Melville’s Moby Dick mesmerized me by its vast range of space and ideas coupled with a cataloguing of minutiae, the sublime antiquarian language, the smell of puritanical early American settlement, the Pequod and its crew as metaphor for the United States racially and politically, and the idea of alternative learning expressed by Ishmael for whom the adventures of the Pequod were his Yale and his Harvard.
I first read this book when I was 14 years old while a volunteer first mate on a concrete sailboat in Lake Erie taking at-risk teens offshore for three to five days at a time. Everything about that summer was a bad idea except reading Moby Dick. Later, it was required reading during my first year of college at Miami University of Ohio and I have read it over and over since. More than a decade ago I splurged and bought the Arion Press edition and read it to my children as babies to help them fall asleep.
Another benchmark book I reread once every ten years or so and it never disappoints. I love Melville’s thoroughly modern assemblage of genres: jumping from adventure narrative to travelogue to anthropological treatise to natural history text. Plus it speaks to the New Englander in me.
It took me years to appreciate, and once embraced it may never be surpassed. At first it was the story, ultimately the detail. Another life I would have liked to live.
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Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986 by Andrew Blauvelt
Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986
by Andrew Blauvelt
Publisher: Cranbrook Art Museum
Published: June 1, 2018
Explores the printed matter—posters, flyers, zines, and album covers—produced by and for the punk and post-punk music scenes in the United States and UK. Printed as a special, oversized, 52-page color newspaper, the catalogue has been published on the occasion of an exhibition of the same name, curated by Andrew Blauvelt, on view at the Cranbrook Art Museum through October 7, 2018.
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