Whether or not the very title, Call Me Ishmaelle, makes obvious the book’s premise, let’s start by saying that author Xiaolu Guo’s re-imagination of Moby-Dick is based on historical record.
No telling how many young women successfully disguised themselves as young men for the sake of adventure and got themselves hired, mostly as cabin-boys, on merchant and whaling ships that crossed oceans in the 19th Century. Guo mentions four whose stories and memoirs have appeared in print.
Her acknowledgments also include Skip Finley’s Whaling Captains of Color: America’s First Meritocracy (2020). May not have been true in the early 19th Century when Herman Melville’s novel is set or even in 1851 when Moby-Dick was published, but Guo’s adaptation begins in 1860 by which time freed African-Americans rose through the ranks to become captains of ships.
Suffice to say that, while the critics label Ishmaelle “gender-flipped” or “a feminist re-telling,” they are not wrong. But the book is so much more, that they reduce it even as they think they praise it.
Moreover, Guo tells a very different story. While the characters are parallel, most of them play quite different roles. Unlike Ishmael who keeps his head down on the Pequod, Ishmaelle becomes very much a part of the plot. With the exception of a few musings at the end of chapters and at the end of the book, her narration stays focused on the Nimrod‘s pursuit of Moby-Dick, a far cry from Ishmael’s frenzied philosophical and historical tangents while telling us of the Pequod‘s voyage.
Captain Seneca is as close to Othello as to Ahab, with an added grievance or two that propel him. And his surprise addition to the crew, Muzi, a Taoist “monk” who advises him with the I Ching, is 180 degrees removed from Ahab’s Satanic Fedallah.
Advising Ishmaelle is Mr. Entwhistle, or “Woody” as he is inevitably known, who likes to remind her that, as he first puts it, “Everything is a task. Living is a task. There is only one thing that is not a task.” What follows is among the more revealing passages regarding her inner turmoil, the glaring difference between Guo’s narrator and Melville’s, and by implication between men and women:
‘And what is that, Woody?’
‘Death. Death is not a task.’
Well, I thought he was right. Death is not a task. But that was like saying that a carpenter is a carpenter, a fish is a fish, a boat is a boat. There was no need to interpret these things. But to be a whaler was different. A whaler had a mission to conquer, to kill. Life for a whaler was not about one task after another task. Life for them was a huge heroic mission involving killing or being killed. I was never sure if I was a real whaler. I did not have this desire to conquer or to kill. I did not have this unstoppable urge to chase. But I did have the desire to know about the world, and to discover. So I was neither a carpenter nor a whaler. I was not sure what I was. For the last several months, I had been a man called Ishmael, now I was a woman called Ishmaelle. Though to myself I was both.
While there’s no Father Mapple and no “Woe to him who seeks to please rather than to appall” sermon, the Nimrod’s crew includes a surgeon, Mr. Hawthorne, who takes Ishmaelle under wing. By the end, we’ll learn that Hawthorne discerned the disguise early on. He soon becomes a father figure to the girl-boy when he learns of her knowledge of the medicinal properties of herbs. Guo is offering an inside joke with the name: Not only was Moby-Dick dedicated to Nathaniel Hawthorne, Melville’s friend, but herbal medicine played a leading role in The Scarlet Letter.
Captain Seneca also took note of Ishmaelle’s way with herbs. Because of it, he spared her any punishment when she was found out. Might add that he put her attacker in irons for three days, but that’s a slap on the wrist considering just what the attack entailed. When the third mate was lost overboard, he amazed the crew–and I dare say this reader–by promoting her to the position that includes leading one of the three boats that leave the ship for the chase.
Like so many secrets in Guo’s intrigue-rich tale, Seneca’s reason will be made as clear as it is logical. When Ishmaelle denies his claim that she has some secret power over “the white devil,” Seneca explodes:
You cannot lie to me and dissemble! You witch, you have been brought to me, brought onto this cursed bark. You are the path to the whale. You have beguiled that whale, you will ensure I prevail!
A black captain vs. a white whale. A woman in the role of a man. Eastern religion guiding a Christian boat. The backdrop of an imminent Civil War before the story sets sail. A cameo appearance of witchcraft as it dives toward conclusion.
Taken in full, Call Me Ishmaelle isn’t a “gender-flipping” of Moby-Dick, nor is it a backstory such as Sena Jeter Naslund’s page-turning Ahab’s Wife (1999), or the tale told from another point of view such as James (2024), Percival Everett’s uncompromising re-telling of Huckleberry Finn.
The only category into which Guo’s novel might fit, if it exists, is the category of “What if?” It’s a category, a question, a premise in which the imagination has no limit.
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