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Many writers in antebellum the USA sought to reinvent the Bible, yet not anyone, Ilana Pardes argues, used to be as insistent as Melville on redefining biblical exegesis whereas doing so. In Moby-Dick he not just ventured to model a grand new inverted Bible during which biblical rebels and outcasts think middle level, but in addition aspired to touch upon each that you can imagine mode of biblical interpretation, calling for a thorough reconsideration of the politics of biblical reception. In Melville's Bibles, Pardes lines Melville's reaction to an entire array of nineteenth-century exegetical writings—literary scriptures, biblical scholarship, Holy Land commute narratives, political sermons, and women's bibles. She exhibits how Melville raised with remarkable verve the query of what counts as Bible and what counts as interpretation.

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