A nice pair these, especially the underrated 'Benito' which I once saw correctly identified as at least the equal of anything in Conrad. And it is that good: a case can be made for it as Melville's finest story. I have written elsewhere of 'Bartleby', the enigmatic Nay-Sayer, speaker for a Melville bitter at 'Moby Dick's' failure and unwilling to explain WHY he "would prefer not to." IT is a great exercise in the hermetic; "never apologise never explain" indeed; it's a masterpiece of proto-Modernism, inscrutable and beguiling, resolute in keeping Truth occluded. 'Benito Cereno' adorns a real tale of sea-raid and capture, but the telling is remarkable and the denouement worrying. If at first more of a piece with Melville's early, simple sea stories, in fact there are hints of a far darker knowledge here: of dark and light, of ambiguity and threat, appearance belying reality; the common modernist themes. It is brilliantly rendered and worthy of a very great writer, fully the equal of 'Bartleby' - it shares with its dissimilar partner a fastening on the hidden - and deserving larger 'billing' on the cover. It has a place on any study of Post-Colonial literature, certainly; it speaks to the FLN in Algeria thus has resonance for France, (for example) and for Britain in Kenya fighting Mau-Mau. This is one of the masters of the short story, as great as Chekhov, if a polar opposite. Highly recommended.