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To reconsider the affective turn in American literary studies, this essay reads Herman Melville's “Bartleby, the Scrivener” (1853), with reference to “Benito Cereno” (1855) and The Confidence-Man (1857), as an anti-affect story. By shedding light on silent characters in these works – Bartleby, Babo, and Black Guinea – it argues that Melville endeavors to adumbrate, not articulate, their private interiorities through language. Calling the inner recesses of his silent characters “secret emotions,” Melville probes into the boundaries between the effable and the ineffable by testing the limits of literary language. If “affect” refers to the kind of emotion that eludes signification through language, reading Melville in this manner encourages a reappraisal of the relationship between affect as a non-linguistic emotion and literature as a linguistic construct.

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