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The postwar scholars tended to think that Weaver, Harvard psychologist Henry Murray, and Mumford favored Freudian interpretations which read Melville’s fiction too literally as autobiography; exaggerated his suffering in the family; and inferred a homosexual attachment to Hawthorne. They saw a different arc to Melville’s writing career. The first biographers saw a tragic withdrawal after the cold critical reception for his prose works and largely dismissed his poetry. A new view emerged of Melville’s turn to poetry as a conscious choice that placed him among the most important American poets. Other post-war studies, however, continued the broad imaginative and interpretive style; Charles Olson’s Call Me Ishmael (1947) presented Ahab as a Shakespearean tragic hero, and Newton Arvin’s critical biography, Herman Melville (1950), won the National Book Award for non-fiction in 1951.
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Mayer and LaBruyere performed throughout Georgia and nearby states. Also, as his career coincided with the then-nascent internet music market, Mayer benefited from an online following. Mayer came to the attention of Gregg Latterman at Aware Records through an acquaintance of Mayer’s, a lawyer, who sent Aware his EP. In early 2001, after including him in Aware Festival concerts and his songs on Aware compilations, Aware released Mayer’s internet-only album, Room for Squares. During this time, Aware concluded a deal with Columbia Records that gave Columbia first pick in signing Aware artists. In September, Columbia remixed and re-released Room for Squares. As part of the major label “debut”, the album’s artwork was updated, and the track “3×5” was added. The re-release included reworked studio versions of the first four songs from Inside Wants Out.
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