Bartleby, the Scrivener

Bartleby, the Scrivener: A Story of Wall-Street is a seminal short story by the American author Herman Melville. First published anonymously in two installments in 1853, it presents a haunting narrative of passive resistance and existential alienation set against the burgeoning commercial world of Manhattan. The story is narrated by an elderly, complacent lawyer on Wall Street who hires a quiet copyist named Bartleby, whose polite but firm refusal to work—encapsulated in his phrase "I would prefer not to"—progressively unravels the narrator's world. A cornerstone of American literature, the tale is celebrated for its enigmatic exploration of capitalism, human isolation, and the limits of Christian charity.

Plot summary

The unnamed narrator, a lawyer with a comfortable practice near New York City's Trinity Church, employs several eccentric clerks: the irritable Turkey, the youthful Nippers, and the errand boy Ginger Nut. To handle increased workload, he hires Bartleby, a pallid, forlorn man who initially proves an industrious scrivener. After several days, Bartleby famously responds to a request to examine a document with "I would prefer not to," initiating a pattern of passive refusal that extends to all professional and personal tasks. The lawyer, oscillating between frustration and pity, discovers Bartleby has begun living in the Wall Street office. Despite attempts at reasoning, offering money, and finally relocating his own practice to a new building on Broadway, he cannot dislodge Bartleby, who is eventually removed by the new tenant and authorities to The Tombs prison. There, Bartleby refuses food and dies, facing a prison yard wall. The story concludes with the narrator's haunting revelation of a rumor that Bartleby once worked in the Dead Letter Office in Washington, D.C..

Publication history

"Bartleby, the Scrivener" first appeared in the November and December 1853 issues of Putnam's Magazine, a prominent New York City monthly. It was published anonymously, as was common for magazine fiction at the time, though Melville's identity was known in literary circles. The story was later included in Melville's 1856 collection The Piazza Tales, published by Dix & Edwards. This period followed the commercial failures of his major novels like Moby-Dick and Pierre, and his turn to short fiction for periodicals provided crucial income. The original manuscript does not survive. The story's initial reception was muted, and it languished in relative obscurity until the major Melville revival of the early 20th century, when critics like Raymond Weaver and Lewis Mumford championed its psychological and philosophical depth.

Analysis and interpretation

Interpretations of Bartleby are vast and multifaceted. Many critics view the story as a profound critique of the emerging capitalist order of Wall Street and the dehumanizing nature of office labor, anticipating themes in the works of Franz Kafka and Albert Camus. Bartleby's passive resistance is often read as a form of existential protest or a radical assertion of selfhood against societal demands. The narrator's ineffective Christian charity and legalistic mindset highlight the failure of conventional systems to address profound human suffering. The final rumor about the Dead Letter Office suggests a symbolic connection between Bartleby's despair and the futility of lost human communication. The story's setting among landmarks like Trinity Church and the Wall Street banks creates a stark contrast between spiritual ideals and material reality. Philosophical readings often link Bartleby to concepts of negation and quietism.

Literary significance and reception

Initially overlooked, "Bartleby, the Scrivener" is now considered a masterpiece of world literature and a pivotal work in the American Renaissance. Its influence is evident in the absurdist fiction of Kafka, the corporate critiques of Joseph Heller, and the dramatic works of Harold Pinter. The story is a staple in anthologies like The Norton Anthology of American Literature and is widely taught in courses on American literature, short story, and literary theory. Critical studies by figures such as Gilles Deleuze, Leo Marx, and Hannah Arendt have cemented its status as a rich text for psychoanalytic, Marxist, and philosophical inquiry. Its concise, ambiguous narrative and the unforgettable refrain "I would prefer not to" have entered the cultural lexicon, symbolizing non-conformist resistance.

Adaptations

The story has been adapted into various media, reflecting its enduring resonance. Notable stage versions include an opera by William Flanagan and an Off-Broadway play. In film, it was adapted by the German director Friedrich Wilhelm Murnau (though the film is lost) and more recently in versions starring actors like Paul Scofield and Crispin Glover. The BBC has produced radio dramatizations. The character and premise have also inspired loose adaptations and references in television series, including an episode of The Simpsons, and the phrase "I would prefer not to" is frequently cited in political and cultural commentary. Its themes directly influence later literary works, such as Robert A. Heinlein's ""—All You Zombies—"".

Category:1853 short stories Category:American short stories Category:Works by Herman Melville