Results by title

In his autobiography, Mark Twain confesses that “from the cradle up I have been like the rest of the race—never quite sane in the night.” Of all the memories and fears that disturbed Twain’s peace of mind, none are more intractable than those associated with White fathers, Black men, the histories they reflect, and the future they promise. The Ghosts of Mark Twain: A Study of Manhood, Race, and the Gothic Imagination investigates these tense intersections in Twain’s life and work. 
 
Ann M. Ryan maps Twain’s resistance to ideals of white masculinity and his occasional capitulation to them. While Twain reflects upon the history of White men—including the intimate memory of his father’s failures and abuses—he also imagines a future in which Black men will gain an authentic voice and agency.  Preferring the messy humanity of Mark Twain, Ryan calls into question the “St. Mark” school of criticism, which glosses—among other themes—Twain’s uneasy relation to Black culture. In unpublished works and excised material, Twain conjures memories and specters of Black men that are far from comforting. No longer “friends and allies” like fictive Ol’ Uncle Dan’l; these Black ghosts will settle for revenge if they can’t get justice.

Some of the works considered in The Ghosts of Mark Twain are not widely known: “Which Was It?,” “The United States of Lyncherdom,” No. 44: The Mysterious Stranger, and the Morgan manuscript of Pudd’nhead Wilson. Written into the record of these fragments is Twain’s desire to be a different kind of White man, just as their incomplete nature demonstrates how often he stumbled in that effort. When Jim describes the White and Black spirits hovering over Pap Finn, Twain reveals his own conflicted position in America’s racial history. And as Jim declares to Huck, “A body can’t tell yit which one gwyne to fetch him at de las.’”


 
 

Choice Outstanding Academic Title for 2023

In the final volume of his three-volume biography, Gary Scharnhorst chronicles the life of Samuel Langhorne Clemens from his family’s extended trip to Europe in 1891 to his death in 1910 at age 74. During these years Clemens grapples with bankruptcy, returns to the lecture circuit, and endures the loss of two daughters and his wife. It is also during this time that he writes some of his darkest, most critical works; among these include Pudd’nhead Wilson; Personal Recollections of Joan of Arc; Tom Sawyer Abroad; Tom Sawyer, Detective; Following the Equator; No. 44, the Mysterious Stranger; and portions of his Autobiography.
 

How Samuel Clemens became Mark Twain—and Mark Twain became a myth.

The Mythologizing of Mark Twain explores the enduring fascination with one of America's most celebrated literary figures and examines how Samuel Langhorne Clemens became the cultural icon known around the world as Mark Twain. Bringing together a distinguished group of scholars, this thought-provoking collection investigates Twain not simply as an author, but as a powerful symbol whose life, works, and public persona have become inseparable from larger ideas about American identity, humor, democracy, individualism, and national character.

Readers and critics have long recognized Twain's literary genius, yet explaining the origins and significance of that genius remains an ongoing challenge. The essays in this volume address that challenge by exploring the many ways Twain has been interpreted, celebrated, debated, and transformed into a mythic figure. They examine how his writings helped define an American literary tradition while simultaneously contributing to the creation of a broader cultural mythology that continues to shape public perceptions of the United States and its history.

Rather than seeking a single interpretation of Twain, the contributors employ a range of critical approaches to illuminate the complexity of both the man and the legend. Their analyses reveal how the boundaries between Samuel Clemens, Mark Twain, and the popular image of "America's author" have often blurred, generating new layers of meaning for successive generations of readers and scholars.

The Mythologizing of Mark Twain is an essential resource for students and scholars of American literature, cultural history, and literary criticism. By examining the evolution of Twain's reputation and influence, the collection offers a deeper understanding of how literary figures become cultural myths and why Mark Twain remains one of the most enduring voices in the American imagination.

“I was made in His image,” Mark Twain once said, “but have never been mistaken for Him.” God may have made Mark Twain in His image, but Twain frequently remade himself by adopting divine personae as part of his literary burlesque. Readers were delighted, rather than fooled, when Twain adopted the image of religious vocation throughout his writing career: Theologian, Missionary, Priest, Preacher, Prophet, Saint, Brother Twain, Holy Samuel, the Bishop of New Jersey, and of course, the Reverend Mark Twain. Joe B. Fulton has not written a study of Samuel Langhorne Clemens’s religious beliefs, but rather one about Twain’s use of theological form and content in a number of his works—some well-known, others not so widely read.

Twain adopted such religious personae to burlesque the religious literary genres associated with those vocations. He wrote catechisms, prophecies, psalms, and creeds, all in the theological tradition, but with a comic twist. Twain even wrote a burlesque life of Christ that has the son of God sporting blue jeans and cowboy boots. With his distinctive comic genius, Twain entered the religious dialogue of his time, employing the genres of belief as his vehicle for criticizing church and society.

Twain’s burlesques of religious form and content reveal a writer fully engaged with the religious ferment of his day. Works like The Innocents Abroad, Adventures of Huckleberry Finn, Personal Recollections of Joan of Arc, Roughing It, and What Is Man? are the productions of a writer skilled at adopting and adapting established literary and religious forms for his own purposes.  Twain is sometimes viewed as a haphazard writer, but in The Reverend Mark Twain, Fulton demonstrates how carefully Twain studied established literary and theological genres to entertain—and criticize—his society.
 

More than a century after his death in 1910, Mark Twain remains a lightning rod for controversy. Especially in matters of race, class, and gender, the volatile views this iconic American author expressed in classics like Adventures of Huckleberry Finn continue to provoke heated debate among antagonistic culture-war factions. However, when citing his withering attacks on religion, believers and atheists alike are often united in concluding that Twain was either a mocking skeptic or a hostile atheist.

In There is No Humor in Heaven, Dwayne Eutsey challenges the persistent view of Twain as a hostile critic of religion by placing him within the prevailing liberal religious ethos of his time. From Hannibal to the western frontier and from Hartford to the wider world, Eutsey contends Twain’s vocation as a humorist was rooted in his frustrated youthful ambition to become a preacher of the Gospel. Throughout his life, his friendships with several influential liberal ministers, each of them espousing various forms of the era’s diverse progressive theology, informed not only Twain’s evolving religious worldview but his lecture performances and literary output.

There is No Humor in Heaven traces unconventional theological influences on Twain ranging from African-American spirituality, Freemasonry, and frontier Unitarianism to devout Liberal Christianity, radical Free Religion, and esoteric Hinduism. Drawing from Twain’s writings, documents, personal notes, and more, There is No Humor in Heaven offers readers a radical re-examination of the spiritually creative vitality of a controversial literary giant.