Moby-Dick; or Children Crusading after the Whale

by Kurt Vonnegut, Jr.*

*obviously not by Kurt Vonnegut, Jr.

Note from John: I originally wrote this parody during my ill-spent grad school days while I was reading Melville for a 19th Century American Lit class, I think it was in 1993. I have revised it for this blog now in 2026. It’s probably only funny if you’ve already read Moby-Dick and about four or five novels by Kurt Vonnegut, so go ahead and do that first, I’ll wait.


For Nathaniel Hawthorne

Dear Nate—here’s that short, jumbled, jangled book I was talking about the last time we got drunk together. It is short and jumbled and jangled, Natty, because there is nothing intelligent anyone can say about a big old off-white whale. Next time, I promise myself I will write a book about something fun, like a dolphin maybe. At least that could be optioned for a movie and make me some real scratch. The publisher said that they were going to get a fellow named Rockwell Kent to do the illustrations for this book, but Mr. Kent wisely declined. Instead, I have again taken my permanent marker and crapped out a few illustrations. To give you some idea of the level of maturity of my drawings for this book, here is my drawing of a whale:

whale

And here, for no particular reason, is my drawing of the whale’s asshole:

whole

Nate, there’s no doubt about it, I have written a wicked book. Bad, bad, bad. Shame on me. Yet somehow, I feel spotless. Like the lamb? Maybe. My book begins like this: Call me Ishmael. And it ends like this: Poo-tee-weet?


Loomings, foma & grandfalloons 1

Call me Ishmael. You might as well. Sometimes I spend the whole night drinking and smoking several packs of Pall Malls and singing sea chanteys until all hours, and then I end up going out to sea in a whale boat. I don’t know why I do this. My wife asks me, “Ish, what the hell were you thinking, going out to sea in a whale boat like that?” To which I reply: “Search me.” I think it must be damp, drizzly November in my soul, or else it is my hypos getting an upper hand of me. Whatever that means.

My wife scolds me and says, “Well, promise me this one thing: just don’t sign up with any crazy one-legged men this time.”

“Okay,” I say, but I always do.

A big kid with tattoos 2

So one day—never mind how long ago precisely—I found myself in New Bedford looking for a pub in which to ruin my liver. I was planning to ferry to Nantucket the next day and get a job on board a whaling ship. A whaling ship is a big wooden boat which is full of hairy uneducated men who drink lots of rum and sing sea-chanteys and chase whales. An example of a sea-chantey is:

Yo, ho, Pass th’ bottle and pass th’ gas,
Yo, ho, I be in luff wi’ a salty lass,
Yo, ho, She’s got all her teeth so she’s out o’ me class,
Yar, yar, yar, yar.
Yar yar yar yar yar hey!
(Repeat from the top for duration of voyage)

Which reminds me of another song, which goes like this:

Who’s the whale who bites off legs and then just swims away?
M, O, B, then there’s Y,
D, I, C and K.

A whale is a creature that lives in the sea and is six times as smart as the average person and looks like this:

whale

The idea of whaling was for grown men who should know better to go out in a boat and stick a whale with pointy things until its lungs hemorrhage and it chokes on its own blood. Then the whale is chopped up into little pieces which are boiled down into whale oil which is put in barrels and sold for lamps and candles. Whale oil looks like this: 

whale oil

Can you believe I am actually getting paid for these illustrations?

Listen: The man in whose inn I stayed was named Petter Coffin. You get it—Coffin? You can’t buy symbolism like that. Anyway, he did not have a single room available, so he asked me if I would mind bunking with a cannibal. A cannibal is a person, male or female, who eats other people. I have nothing against cannibals, they are lovely people. My sister—bless her heart—married a cannibal. But I had to think hard about sleeping next to one.

Peter Coffin noticed my hesitance. “He doesn’t eat much at night,” he said. Peter Coffin had an enormous schlong, by the way.

“What the hell.” I said. I said it just like that: “What the hell.”

It turned out that I was sharing a bed with a big tattooed kid named Queequeg. He was just out of high school down in the South Seas and he was full of enthusiasm and missionaries, whom he liked served in a quiche. So it goes.

Queequeg had a dream that when all this whaling was over, he would move to Jersey and get a job in plastics. “Plastic is a young man’s game,” he said, fluffing me up like a pillow. “Big growth industry.”

“That’s great, Quee,” I said. I said it just like that: “that’s great.”

I thought, what I lovely kid to know what he wanted to do with his life so young. He smiled and fell asleep. Then he rolled on top of me and broke two of my ribs.

The prophet strikes 3

The next morning we left for Nantucket. On the way, Queequeg and I talked about a book that I had brought for the trip. Queequeg couldn’t read, literature being a low priority at his alma mater, Cookumup High. So I described the story: it was by my favorite author, Fillmore Sprout, and it was a really great book called The Scarlet Number. The story went like this: in the future everyone who commits a sin gets a big red number ‘666’ on their chest. But there aren’t enough numbers to go around, and everyone wants one. The heroine of the book, an alien named He-Star Prinn, sells numbers on the black market and then nobody has to sin for fashion anymore.

Well, now that I think about it, maybe it isn’t such a great book after all.

Queequeg told me to pick the ship we would hire up on. That was just the kind of kid he was. He had an enormous wang, too. I looked up and down the wharf and spotted a ship called the Pequod which lots of rats scurrying down the gangplank to the shore. “Let’s choose that one,” I said, “less rats.”

As we approached the boat we saw a man wearing a sandwich board that said things like ship of the damned and abandon all hope, ye who enter here and Ahab unfair to United Prophets Local 345. His name was Elijah, and he had bad wiring in his head. It programmed him to say things like: “Ar, me fine hearties. Have ye signed away your souls? Boo! Boo! Scary. Take heed, take heed.” Then he rattled some chains and opened a box of dry ice. “Watch out for Old Thunderer,” he added.

I had a dog once named Old Thunderer. He was a hell of a dog. I’d say it to my wife: “Old Thunderer was a hell of a dog.”

Knights and those guys that hang out with them 4

Listen: We cast out to sea for a five year vacation of whale-killing. So it goes.

The first mate of the Pequod was named Starbuck. At least, that’s what he wanted the crew to call him. “Boys,” he said, “call me Starbuck,” like that. He thought it made him sound like a dashing swashbuckler. But really he was just a poor slob like the rest of us, with a wife and kids who were never happy with him and a bad back and hemorrhoids. His real name was Leon Schwartz. Starbuck once told me an interesting thing. “Ish,” he said, “You might think the poop deck of a ship is where the head is. But it’s not. Trust me on this.”

The second mate of the Pequod was a fellow named Stubb. You might think that with a name like Stubb, he wouldn’t have a schvance, but he was actually hung like a bull. But when he was a boy he was picked on all the same. “Stubby,” kids would call him, “Stubb the grub.” Stubb collected stamps. His cabin was full of back issues of Philatelist’s Monthly.

I collected stamps, too, once.

The third mate was a ratty little man named Flask. Flask had become a whaler because he liked to stick sharp sticks into things. He liked to think that Starbuck, Stubb and himself were a team. “We’re the Three Musketeers,” he’d say. “We’ll give those whales hell, eh, boys?” The other mates would tie Flask up and then dunk him in the ocean using a long rope. “Some fun, eh guys?” Flask would sputter when they pulled him up. Then they would keep him underwater longer next time.

The three mates each had their own harpooners. It was as if the mates were knights and the harpooners were, well, those guys who used to hang out with knights. It’s not a perfect analogy. The harpooners’ names were Queequeg, Tashtego, and Dagoo. They were lovely people, just lovely. I used to ask them what it was like being savages.”Hours are good,” they’d say.

The harpooners all had their own special harpoons. All of these harpoons were kept in a special room. There was a hand-lettered sign next to them that said:

we aim to please
Whale stuff 5

Already we are boldly launched upon the deep. Or did I say that already? Sometimes I think that I, too, have bad wiring. But before we get to far into the story, let me digress into some bafflingly irrelevant tangents.

The study of whales is called cetology. This is from the Latin. It kills me that someone actually thought up a name for studying whales. I like to picture two guys sitting in a laboratory somewhere thinking up stuff like that. “Study of chinchillas,” one will say, and the other one will come up with something in Latin in no time flat. Then they laugh and go on to the next one: “Study of mothballs.”

There are lots of whales in the world. Some are big. Some aren’t so big.

When people are enjoying what they are doing, they might say, “Having a whale of a time,” but nobody knows why they say this. Whales don’t seem to be particularly happy to me, the way dogs do. But nobody says, “having a dog of a time.” The next time you’re out, just listen. I guarantee that you will never hear that sentence spoken.

You’d be surprised the number of books that have been written about whales. I once went to the library and got all the books I could get about whales and just looked at them. “Do people actually read all this stuff?” I asked the sub-sub-librarian. He belonged to that hopeless, sallow tribe which no wine of this world would ever warm.

He shrugged. “Search me,” he said.

What’s a quarter-deck ? 6

Listen: Captain Ahab came up on the quarter-deck.

Bad wiring? Don’t even get me started. Captain Ahab was the king of short-circuited thinking. He was angry and hairy and quarrelsome and peg-legged. He was also a fan of the author Fillmore Sprout. His favorite novel by Sprout was one called Uncle Tom’s Spaceship. It was the story of a man named Tom who had a spaceship. He worked for a cruel alien master as a field hand. But the law was once a year he got to be the master and the alien was the slave. Tom could run away in his spaceship whenever he wanted, but he never did, because he liked being master so much that one day a year.

Ahab called the crew together. He pulled out a gold coin and held it up in the sun. Gold is a heavy, yellow metal that is easy to bend and doesn’t tarnish. Because it is so bright and shiny, grown men who should know better kill each other to have it.

So it goes.

Ahab took that coin and hammered it onto the mast. The hammer he used, by the way, was a ball-peen hammer, which was invented by my great-grandfather in Warwick, England, exactly 100 years ago in 1751. Small world, as they say.

Ahab said: “Whosoever of ye raises me an off-white-headed whale with a wrinkled brow and a crooked jaw—look ye, whosoever raises me that same off-white whale, he shall have this gold ounce.” He said it just like that. Reading too many Fillmore Sprout novels had turned his brains to peet moss and made him talk silly.

The whale Ahab was talking about was called Moby-Dick. A few months ago this whale had made a snack of Ahab’s left leg. So if anyone should have been named Stubb, it should have been Ahab. You might think that losing a leg would mellow a man, cause him to reconsider his priorities and take up shuffleboard, but not Ahab. 

Personally, I love shuffleboard.

“Who’s with me?” shouted Ahab.”Huzzah!” the men shouted right back, except for Starbuck. Starbuck was not sure he wanted to spend his time looking for an off-white whale, and he said so. 

Listen: To provide some stylistic variety, here is my little play of what happened next.

[enter Starbuck, looking concerned]

Starbuck: I was just thinking, it’s kind of a big ocean and all…

Ahab [waxing grandiloquent]: All visible objects, man are but pasteboard masks.

Crew: Huzzah!

Starbuck: What?

Ahab: The Pagan leopards—the unrecking and unworshipping things, that live; and seek, and give no reasons for the torrid life they feel!

Starbuck: Huh? 

Crew: Huzzah! 

Ahab: [aside] Now I have Starbuck! 

Starbuck: Who are you talking to over there?

Anyway, the point I am trying to make is that eventually everybody agreed to hunt Moby-Dick until the whale was made into candles. So it goes.

The off-whiteness of the whale 7

What was it about an off-white whale that so unnerved Ahab? That made him want to stick Moby-Dick with sharp sticks so badly? One answer lay in another book by Fillmore Sprout, The Slightly Yellow Wallpaper. The story took place on a planet called Ecru. On the planet Ecru everyone decorated in off-white designer colors with names like “cream,” “mushroom,” “September mist,” and so forth. But no one used plain white. Eventually the colors became so subtle that the aliens of the planet Ecru could no longer find chips to match their bedroom walls, no matter how many hardware stores they visited.

Is it this bland decadence that so terrifies the soul? The way off-white contains every color, plus a little something extra to warm it up? The nondescriptness of a color like “putty” which is so vague that it makes everything seem meaningless? What kind of a person would paint their bathroom walls “oatmeal” anyway?

Besides my brother-in-law, I mean.

Oh, by the way, around this time Queequeg got sick and thought he was going to die. So he had a coffin made for himself. This last bit might seem like an irrelevant thing to mention, but I have to set up the device somewhere for a big payoff at the end of this story. 

A paper clip 8

Look: It also occurs to me that it has been a few pages since I drew one of my crappy little pictures. So here is one, of a paper clip that was in my pocket during the voyage:

clip

The best thing is, Delacorte Press has to print all of these doodles. They have no choice, it’s in my contract.

Chasing the whale 9

A lot of stuff happened on that trip, but I decided to leave it out of the book. An old man like me has to pace himself. So let us skip ahead to the end of this thing. From this point in the story I will reuse a gimmick from one of my lesser-known books: I will place an asterisk (*) after the name of any character who will die within the next twenty-four hours. Like I said, I am an old, drunk fart—I can’t be expected to come up with brand-new devices for all my novels.

Look: there is Ahab*, pacing around again. He is about to give up his search.

Ahab* said, “What is it, what nameless, inscrutable, unearthly thing is it, what, cozzening, hidden lord and master, and cruel, remorseless emperor commands me? Is Ahab*, Ahab*? Is it I*, God, or who that lifts this arm? Hey, isn’t that Moby-Dick over there? Well I’ll be keelhauled.”

Ahab* ordered the crew* to man the harpoon boats. They were just kids on a crazy crusade. They had no particular desire to go and stick a whale full of sticks.

I have instructed my children that they are under no circumstances to stick a whale full of sticks, and that the news of a whale stuck full of sticks is not to fill them with pleasure.

Ahab* manned a boat with the rest of them*. It made him feel important, to be hands-on that way. I was one of the rowers as we set off after the off-white whale. My back ached. All of our backs ached. “Don’t worry, men,” Ahab* said to us. “My counselor, the wretched Fedellah* has prophesied for me that I cannot die until I meet a deaf Swede who is five foot two.”

“I’m sorry, what was that?” said “Shorty” Ingmar*, sitting beside me and cupping his ear.

At that moment Moby-Dick breached, turned, and sped towards the Pequod. He was fearless. He had no asterisk behind his name. With a crash he rammed the ship and it split in two and began to sink. The water beneath it bubbled and swirled into a whirlpool.

“I’ve seen worse,” said Ahab*, shrugging. Then shouted to the whale: “To the last I grapple with thee; from hell’s heart I stab at thee; for hate’s sake—”

With a chomp Moby-Dick swallowed Ahab* and broke the harpoon boat in two. The whale was tired of listening to him go on and on in that dumb pirate dialect, or whatever you would call it. Everyone else* sank into the ocean.

Almost everyone. Up from the whirlpool popped Queequeg’s coffin, and I grabbed a hold of that thing and held on for dear life. His coffin. You get it? It was Queequeg’s coffin, but it saved my life. Irony. I tell you. That’s damn fine writing.

A bird 10

The sea rolled on as it rolled five thousand years ago. Above, the sky was a brilliant blue. It was really kind of pretty, if you overlooked everybody dying horribly and all that. But the massacre was over now. A few yards away from me, a little bit of the main-truck of the Pequod was still sticking out of the water. Tashtego was nailing a flag to it? For some reason? Look, the important thing was he chose to spend his last minutes on earth doing cosmetic repairs to a rapidly sinking ship.

There was a sky-hawk hovering near the crow’s nest and he swooped down to perch on it, only to find that he’d gotten one of his wings nailed to the mast by Tashtego.  

It said, “Poo-tee-weet?”

bird

Brave New World

This essay is about autism, so bear with me through the roundabout introduction. Disclaimer: while I make a lot of general claims about people with ASD, I can really only speak about my own experiences, and then only in confused and broken sentences.

From my freshman to my senior year in high school I was on the Scholastic Bowl team. If you are unaware of what this is, because you spent your youth doing cool stuff like playing actual sports or making out in cars, I will explain. Scholastic Bowl is a varsity competition for nerds, where two teams of four players represent their schools by being the first to buzz in and correctly answer questions posed by a moderator, quiz-show-style. It’s basically “University Challenge” from that one episode of The Young Ones. It purports to be a measure of academic knowledge, but the questions are pretty much bar trivia about the humanities and STEM.

This was a game that was basically made for teenaged John, and it’s not hyperbole to say that I pretty much carried my team: I answered around 80% of the questions and usually buzzed in early—that is, before the moderator was done reading the question. It’s not that I was smarter than my teammates, it’s that I had weirdly eclectic interests and an ability to retrieve facts from my memory with speed and precision (I have lost this skill in middle age).

For an activity that took up so much of my teen years, I recall no specific matches, but there was one question, and my answer, that I remember lucidly. It was toward the end of a match that was nearly tied, and the score was making me tense and focused. The moderator asked the toss-up, “who wrote the New World Symphony?”

I buzzed in immediately and responded, “Dvořák.”

The moderator looked confused and peered down at his question card. “Could you repeat that?” he said.

“Dvořák,” I repeated.

He examined the card a few seconds more and then said, “I’m sorry, that’s incorrect. Would the other team like to respond—”

I loudly interrupted: “Is that spelled dee vee oh, ar-with-a-caron ay-with-an-accent, kay?”

Everyone in the room was taken aback; a student reprimanding a moderator was a completely out of order. “Because that’s pronounced duhVORzyahk. It sounds like it has a Z, but it doesn’t, so you must be reading it incorrectly.”

I suddenly realized that my coaches and teammates were staring at me like I had done something wrong, so I added in a softer voice, “because it’s a Czech name…”

Strangely, while this exchange is etched in my memory, I don’t actually remember whether we got the ten points for a toss-up or not.


I tell this anecdote neither to flex about what a precocious kid I was, nor to admit that I was an incorrigible smartass (both of these are true). My point here is to illustrate the way that autistic people’s minds work. We tend not to pay attention to authority. We are very committed to the idea of truth; we are also committed to the idea of justice—these two positions are intertwined. This insistence can (and does) lead to black and white thinking about things that aren’t black and white, but it also means a belief and fealty to objective truth and fairness.

I don’t mean to imply that autistic people can’t prevaricate. There’s a popular truism that ASD renders one incapable of lying; this is ridiculous and implies that we are a fantastical race of fairy children, magically bound to speak truth. It’s more accurate to say that we aren’t willing to lie for the sake of politeness or to make someone feel better. If someone asks me how I’m doing, or if I like their haircut, I’m going to tell them, even if they really weren’t looking for a straight answer. It would feel inauthentic to do otherwise.

Likewise, an autistic heightened concern for fairness—what psychologists call justice sensitivity—is also tied to our sense of integrity. Good faith and equal treatment matter a lot. At its best, justice sensitivity motivates care for others and the questioning of social conventions. However, it can also lead to a rigid and judgmental outlook, and when this is paired with an indifference towards hierarchy, the outcome is know-it-all punks like me ill-advisedly sassing the very people who give out the points.

But, to be fair, the New World Symphony really was written by Dvořák.

A hill of beans

If one can set aside the many, many ethical issues involving AI art, the question remains for its detractors (like me): what exactly do its proponents see in it? It’s certainly gotten “better,” in the sense that the people in the images now usually have the right number of fingers, and any text isn’t a garbled mess of ersatz letters, and there are fewer instances of what H.P. Lovecraft would call non-Euclidean architecture. But for me at least, the more accurate AI gets, the less it appeals. In the early days of DALL-E and Midjourney, when we were all stuck at home in the midst of a pandemic, typing silly prompts and getting smudgy blurs in response was a lark. Like the joke about the dog who could only type 20 words a minute, the remarkable thing was that it worked at all, not that it was any good. But today, when I prompt Chat GPT with “patriotic American family with a boy and a girl and a dog watching TV,” the elaborate tableau generated is so on the nose, and yet so soulless and dead-eyed (see below), that it renders all the state-of-the-art computation (and the presumably extravagant energy use) irrelevant. All the figures face forward and arranged using strict isocephaly; the virtual canvas is arranged with horror vacui that makes Where’s Waldo look open and airy.

chat gpt
Chat GPT image from my prompt (this is the first, and I hope the last, time I will ever use generative AI)

There have been a lot of think pieces about the politics of AI art, from claims that it’s beloved by fascists, to the counter belief that it’s a great democratizer. It does seem to have a particular home on social media, Facebook especially, where AI’s prosaic manner lends itself to oversimplification, cliché, and moralism. When you don’t have to do the work of actually visualizing what you’re saying, you don’t have to make sure your ideas make sense and that your facts are, well, facts. Part of the process of creation is realizing that your visual problems may actually be conceptual problems. Similarly, viewers looking for confirmation of their own beliefs are more easily swayed by images that have the veneer of reality. Or they might just accept them as real.

Whatever the politics, it’s this effortless, cut-and-dried nature of AI that makes it so tedious. Allow me to make another one of my patented far-fetched analogies. In the mid 90’s, during the heyday of Microsoft Office, clip art was everywhere, and the most overused clip arts of all were the Screen Beans, a series of bulbous human-shaped silhouettes doing things, or more commonly, reacting to things. These illustrations were designed by Cathy Belleville and licensed to Microsoft for distribution with Office in 1995. They depicted poses that were purposefully vague, so that they could be used in any situation; however, that vagueness also drained them of any meaningful content or personality.

But, boy howdy, they got used. In Powerpoint presentations, yes, but also in church bake sale signs and guitar lesson flyers and passive aggressive notes reminding people to pay into the coffee fund. This was before most people had Internet access so it all got printed on the sly using the office laser printer. So many trees gave their lives for the millions of reams of 20 lb. copy paper that were emblazoned with a screen bean jumping in the air or scratching its head in bewilderment. But for all the ubiquity of these inky nebbishes, they never really gave the texts they accompanied any new information.

those unavoidable Screen Beans

So why do these generic, overused illustrations remind me of AI art, which is supposed to be bespoke to the user prompt? Both are art for people who really don’t care about art. They are perfunctory nods in the direction of art employed by people who lack the skills, funds, or interest to do better. Clip art, like AI, was presented as a democratic form bringing design to the masses. Why limit art production to people who spent their lives developing a skill, who expect to be paid for what they do? This will do instead. But to paraphrase Johnson, “what is drawn without effort is in general viewed without pleasure.”

The history of art has been the history of its production and distribution. When books had to be written by the few who were literate and copied painstakingly by hand, there were few books, but they were highly valued by writer and reader alike. Similarly, music production once required musicians who had invested years into their craft, as well as had access to instruments or could make their own. Listening required finding these musicians, organizing them, and gathering an audience. Painters had to apprentice with masters in their workshops; they had to know how to mix linseed oil or tempera with rare pigments. As people learned ways to mass produce their tools, to replicate their creations, and to widely disseminate the results, the arts changed. And this was a good thing, because it meant greater access for art lovers, a lower bar to entry for potential artists, and less cost for everyone. Technology in this case really was democratizing. But up until now, however it was made, the creation of art had to be intentional, and took time and practice.

This is what’s lost when effort is eliminated. Whether you mine your own cobalt to mix your own paint or you draw in digital media on a tablet, the effort is the art: not just the act of creating, but your motives, your lived experiences, and your personal aesthetics are the ultimate media of your work. Likewise, the effort an audience brings to close attention, to interpretation, to contextualization—that’s the other half of art. And if we give the production over to machines, we may as well design an AI to enjoy it.