Showing posts with label Mark Twain. Show all posts
Showing posts with label Mark Twain. Show all posts

Thursday, January 26, 2017

Mark Twain's mullet

Well, not Twain himself, but the mullets he ascribed to nobility in A Connecticut Yankee in King Arthur's Court, that is...
About bedtime I took the king to my private quarters to cut his hair and help him get the hang of the lowly raiment he was to wear. The high classes wore their hair banged across the forehead but hanging to the shoulders the rest of the way around, whereas the lowest ranks of commoners were banged fore and aft both; the slaves were bangless, and allowed their hair free growth.
(the beginning of Chapter 27: The Yankee and the King Travel Incognito)

Tuesday, November 08, 2016

Mark Twain and loyalty to country

A note from Mark Twain, to help put the animated comments of the day in perspective. Heated moments when dealing with elections are nothing new...

I've been reading books with the boys this year that tie into their history studies. We spent a day on Chapter 13 of Mark Twain's A Connecticut Yankee in King Arthur's Court since it touches on so many themes in the book.
I said to myself:

“This one’s a man. If I were backed by enough of his sort, I would make a strike for the welfare of this country, and try to prove myself its loyalest citizen by making a wholesome change in its system of government.”

You see my kind of loyalty was loyalty to one’s country, not to its institutions or its office-holders. The country is the real thing, the substantial thing, the eternal thing; it is the thing to watch over, and care for, and be loyal to; institutions are extraneous, they are its mere clothing, and clothing can wear out, become ragged, cease to be comfortable, cease to protect the body from winter, disease, and death. To be loyal to rags, to shout for rags, to worship rags, to die for rags--that is a loyalty of unreason, it is pure animal; it belongs to monarchy, was invented by monarchy; let monarchy keep it.

Wednesday, January 22, 2014

Tom Sawyer resources

We are a couple of chapters away from finishing The Adventures of Tom Sawyer, just in time for the class the oldest boy is taking. The ladies at LitWits have posted resources pages at their site and on their Pinterest board. Be sure to check out their other book resources if you're reading books with kids…there may be something there for you.

Thursday, December 05, 2013

Adventuring with Tom Sawyer

I've been reading The Adventures of Tom Sawyer with the boys and we've been having a lot of fun with it. I highly recommend the unabridged Sterling illustrated edition pictured. They enjoy the rich watercolors by Robert Ingpen while I appreciate the quality feel of the book. Oh yeah…we're enjoying the story, too. There are plenty of opportunities to go over what just happened in the story since Twain often implies rather than explains. I'm hoping it will help them be better readers, too.

I am also helping the oldest take notes on the book since he will attend a LitWits Workshop on the novel next month. The workshop aims to "immerses kids (ages 9-12) in the sights, sounds, smells, tastes, and feel of a single pre-read book. We weave these sensory experiences into prop-based discussion and creative activities, including drama, art, writing, crafts, projects, and games." (from their website) More on that experience after the workshop.

I haven't started compiling resources for kids on this book but plan on doing that soon. If you have know of or have used anything in conjunction with the novel, please leave a comment—all leads and resources welcome!


Update: I should have mentioned in the original post that this is an unabridged edition, so you will run into the word 'nigger' in your reading. Plan your talks about it accordingly. For younger kids you may want to use an abridged version.

Tuesday, August 16, 2011

Life on the Mississippi (audiobook): great Scott!

Reading (or in this case, listening to) Mark Twain proves to be a challenging task for me. I don’t mind the multiple layers of irony and ambiguity…in fact I find that one of his most enjoyable features. There are sublime moments in his writing, such as the passage I quoted in the previous post regarding the cost of experience. Many times, though, he follows such engaging passages with something grating.

Twain’s dislike of Walter Scott animates many fine passages in his work and sometimes an entire book. If nothing else, Twain was a consummate hater and could channel that into some fine work. Occasionally the hatred is laid bare which deliberate hyperbole can’t soften. A couple of passages from Life on the Mississippi:
Sir Walter Scott is probably responsible for the Capitol building; for it is not conceivable that this little sham castle would ever have been built if he had not run the people mad, a couple of generations ago, with his medieval romances. The South has not yet recovered from the debilitating influence of his books. Admiration of his fantastic heroes and their grotesque 'chivalry' doings and romantic juvenilities still survives here, in an atmosphere in which is already perceptible the wholesome and practical nineteenth-century smell of cotton-factories and locomotives; and traces of its inflated language and other windy humbuggeries survive along with it. It is pathetic enough, that a whitewashed castle, with turrets and things--materials all ungenuine within and without, pretending to be what they are not--should ever have been built in this otherwise honorable place; but it is much more pathetic to see this architectural falsehood undergoing restoration and perpetuation in our day, when it would have been so easy to let dynamite finish what a charitable fire began, and then devote this restoration-money to the building of something genuine.

(from Chapter 40)

But wait, it gets better:

Then comes Sir Walter Scott with his enchantments, and by his single might checks this wave of progress, and even turns it back; sets the world in love with dreams and phantoms; with decayed and swinish forms of religion; with decayed and degraded systems of government; with the sillinesses and emptinesses, sham grandeurs, sham gauds, and sham chivalries of a brainless and worthless long-vanished society. He did measureless harm; more real and lasting harm, perhaps, than any other individual that ever wrote. Most of the world has now outlived good part of these harms, though by no means all of them; but in our South they flourish pretty forcefully still. Not so forcefully as half a generation ago, perhaps, but still forcefully. There, the genuine and wholesome civilization of the nineteenth century is curiously confused and commingled with the Walter Scott Middle-Age sham civilization; and so you have practical, common-sense, progressive ideas, and progressive works; mixed up with the duel, the inflated speech, and the jejune romanticism of an absurd past that is dead, and out of charity ought to be buried. But for the Sir Walter disease, the character of the Southerner--or Southron, according to Sir Walter's starchier way of phrasing it--would be wholly modern, in place of modern and medieval mixed, and the South would be fully a generation further advanced than it is. It was Sir Walter that made every gentleman in the South a Major or a Colonel, or a General or a Judge, before the war; and it was he, also, that made these gentlemen value these bogus decorations. For it was he that created rank and caste down there, and also reverence for rank and caste, and pride and pleasure in them. Enough is laid on slavery, without fathering upon it these creations and contributions of Sir Walter.

Sir Walter had so large a hand in making Southern character, as it existed before the war, that he is in great measure responsible for the war. It seems a little harsh toward a dead man to say that we never should have had any war but for Sir Walter; and yet something of a plausible argument might, perhaps, be made in support of that wild proposition. The Southerner of the American Revolution owned slaves; so did the Southerner of the Civil War: but the former resembles the latter as an Englishman resembles a Frenchman. The change of character can be traced rather more easily to Sir Walter's influence than to that of any other thing or person.

(from Chapter 46)

As I said...consummate.

Monday, August 15, 2011

Life on the Mississippi (audiobook)

As I mentioned in a previous post, I found the audiobook version of Life on the Mississippi very enjoyable.

Narrator Grover Gardner does a wonderful job of capturing the home-spun charm of Mark Twain’s fictionalized experience with the river. The book has two general storylines—Twain’s training to be a steamboat pilot and his taking a steamboat trip on the river two decades later. There are many diversions along the way, but I loved the first storyline which goes through about Chapter 17 (this corresponds in large part with Old Times on the Mississippi, a series of articles Twain wrote for The Atlantic Monthly). This section contains some of Twain’s best writing, at least in my enjoyment of it, and I wanted to spend a minute passing it on to others.

After a few chapters about the history of the Mississippi River, Twain launches into the story of how we was trained to be a riverboat pilot. Like other of Twain’s works such as Innocents Abroad or Roughing It, the first person narrative recalls embellished or created events hanging loosely around what really happened. Twain makes his younger self the butt of jokes so the reader can laugh at him as well as with him. But there is something deeper going on in the early section of Life on the Mississippi that makes it endearing, maybe because it is a “coming of age” story. The general lessons Twain learns from the pilot during his education about the river can be also be applied to life.

The theme that I found most moving in this section centers around a loss of innocence during his education. Twain approaches this theme several times, but the following excerpt proves to be moving—his knowledge of the river has forever blocked the beauty he knows is there. From Chapter 9:
Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the somber shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.

I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river's face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody's steamboat one of these nights, if it keeps on stretching out like that; those tumbling 'boils' show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the 'break' from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark.

No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty's cheek mean to a doctor but a 'break' that ripples above some deadly disease. Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn't he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn't he sometimes wonder whether he has gained most or lost most by learning his trade?

Tuesday, August 09, 2011

Conspicuous for excellence, solidity, thoroughness, neatness

I've been listening to Mark Twain's Life on the Mississippi during my commute and thoroughly enjoying it. Presented without comment is a section I heard this morning on the Vicksburg National Cemetery:
The grounds are nobly situated; being very high and commanding a wide prospect of land and river. They are tastefully laid out in broad terraces, with winding roads and paths; and there is profuse adornment in the way of semi-tropical shrubs and flowers,' and in one part is a piece of native wild-wood, left just as it grew, and, therefore, perfect in its charm. Everything about this cemetery suggests the hand of the national Government. The Government's work is always conspicuous for excellence, solidity, thoroughness, neatness. The Government does its work well in the first place, and then takes care of it.

Thursday, November 01, 2007

King Leopold’s Soliloquy

Mark Twain’s King Leopold’s Soliloquy engages the atrocities in the Congo differently than Conrad—through satire. While the subject matter hardly seems like it would lend itself to such an approach, Twain does a good job at lampooning King Leopold II and issuing a call to end the hellish arrangement.

The American Museum of Natural History has a pdf version of the second edition of the booklet. Highly recommended to experience it as it was released, including artwork, photographs, and supplementary information. Text supporting Leopold II is at times put in the shape of a cross, highlighting the irony and hypocrisy of the words. Also, there is a note from the publisher saying that Twain directed the proceeds of the booklet to be used “for relief of the people of the Congo State.”

The booklet is a very quick read, following an imaginary soliloquy of Leopold II reading and reacting to pamphlets revealing atrocities in the Congo done in his name. Some of the speech is over the top, but at times Twain makes pointed remarks to goad the American public to action:

Oh, well, let them blackguard me if they like; it is a deep satisfaction to me to remember that I was a shade too smart for that nation that thinks itself so smart. Yes, I certainly did bunco a Yankee—as those people phrase it. Pirate flag? Let them call it soo—perhaps it is. All the same, they were the first to salute it.

In pointing out that the International Association of the Congo was first recognized by the US, Twain implies the country’s obligation to assist the people of the Congo. (Ironic that such an argument today is used as a reason not to rectify a wrong.)

So how successful is Twain’s tract? For me it didn’t really resonate as the approach is clearly over the top (and needless to say, meant to be that way). Yet Twain definitely pushes the right buttons for an American public, including the King’s musing on the fact that kings are inherently sacred and blessed by God himself, so therefore criticism of his acts are blasphemy. The approach of having Leopold read summaries, headlines, chapter titles, etc. from Congo reports was a great tactic of making sure his readers see the reports. Painting Leopold as cold, aloof, and self-righteous would surely solidify his being a bad guy to people that had not heard of him.

Roger Casement’s The Congo Report (a credible listing of atrocities which created an outcry) inspires Twain to successfully lampoon Leopold, raising laughs as well as relaying part of the report:
That is their way; they [missionaries] spy and spy, and run into print with every foolish trifle. And that British consul, Mr. Casement, is just like them. He gets hold of a diary which had been kept by one of government officers, and, although it is a private diary and intended for no eye but its owner’s, Mr. Casement is so lacking in delicacy and refinement as to print passages from it.

Leopold then quotes part of the report, which includes one of the malevolent practices in the Congo: bringing back a human hand for every rifle cartridge spent. The quotes from damning reports pile up and are the most moving part of the work. Twain seems to go off-track having Leopold attack poets, but quickly recovers by his rant against the easier availability of cameras: “The only witness I have encountered in my long experience that I couldn’t bribe.” When the next page is full of photos of mutilated natives, you understand the new power such a medium would have had for the public. Leopold ends his speech after reading one work’s conclusion about how troubling the many reports and pictures are from the Congo and how it makes one shudder and turn away when someone sees them: “Why certainly--that is my protection. And you will continue to do it. I know the human race.”