Mark Twain

Shelley Fisher Fishkin

David Bradley

Eight essays include "Fenimore Cooper's Literary Offences," "Travelling With a Reformer," "Mental Telegraphy Again," and "What Paul Bourget Thinks of Us"

How to Tell a Story, and Other Essays

James S. Leonard

George L. McMichael

This two-volume series represents America's literary heritage from colonial times through the American renaissance to the contemporary era of post-modernism. Volume I offers early contextual selections from Christopher Columbus and Gaspar Perez de Villagra, as well as an excerpt from the Iroquois League's Constitution of the Five Nations, and ends with an extensive selection of the poetry of Emily Dickinson and Walt Whitman. This anthology is best known for its useful pedagogy, including extensive and straightforward headnotes and introductions, as well as its balanced approach to editorial selection process

Anthology of American Literature

E. L. Doctorow

Albert E. Stone

The adventures and pranks of a mischievous boy growing up in a Mississippi River town in the early nineteenth century

The Adventures of Tom Sawyer

Ursula K. Le Guin

Mock diary entries offer a humorous view of life in the Garden of Eden and the nature of human character

The Diaries of Adam and Eve

Published in 1884, Huck Finn has become one of the most widely taught novels in American curricula. But where did Huckleberry Finn come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than in any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art. In Was Huck Black?, Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American speech played in the genesis of Huckleberry Finn. Given that book's importance in American culture, her analysis illuminates, as well, how the voices of African-Americans have shaped our sense of what is distinctively "American" about American literature. Fishkin shows that Mark Twain was surrounded, throughout his life, by richly talented African-American speakers whose rhetorical gifts Twain admired candidly and profusely. A black child named Jimmy whom Twain called "the most artless, sociable and exhaustless talker I ever came across" helped Twain understand the potential of a vernacular narrator in the years before he began writing Huckleberry Finn, and served as a model for the voice with which Twain would transform American literature. A slave named Jerry whom Twain referred to as an "impudent and satirical and delightful young black man" taught Twain about "signifying"--satire in an African-American vein--when Twain was a teenager (later Twain would recall that he thought him "the greatest man in the United States" at the time). Other African-American voices left their mark on Twain's imagination as well--but their role in the creation of his art has never been recognized. Was Huck Black? adds a new dimension to current debates over multiculturalism and the canon. American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices." Was Huck Black? dramatizes the crucial role of black voices in Twain's art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thought.

Mark Twain and African-American Voices

Was Huck Black?

Winner of the John S. Tuckey 2017 Lifetime Achievement Award for Mark Twain Scholarship from The Center for Mark Twain Studies American novelist E.L. Doctorow once observed that literature “endows places with meaning.” Yet, as this wide-ranging new book vividly illustrates, understanding the places that shaped American writers’ lives and their art can provide deep insight into what makes their literature truly meaningful. Published on the eve of the 50th anniversary of the Historic Preservation Act, Writing America is a unique, passionate, and eclectic series of meditations on literature and history, covering over 150 important National Register historic sites, all pivotal to the stories that make up America, from chapels to battlefields; from plantations to immigration stations; and from theaters to internment camps. The book considers not only the traditional sites for literary tourism, such as Mark Twain’s sumptuous Connecticut home and the peaceful woods surrounding Walden Pond, but also locations that highlight the diversity of American literature, from the New York tenements that spawned Abraham Cahan’s fiction to the Texas pump house that irrigated the fields in which the farm workers central to Gloria Anzaldúa’s poetry picked produce. Rather than just providing a cursory overview of these authors’ achievements, acclaimed literary scholar and cultural historian Shelley Fisher Fishkin offers a deep and personal reflection on how key sites bore witness to the struggles of American writers and inspired their dreams. She probes the global impact of American writers’ innovative art and also examines the distinctive contributions to American culture by American writers who wrote in languages other than English, including Yiddish, Chinese, and Spanish. Only a scholar with as wide-ranging interests as Shelley Fisher Fishkin would dare to bring together in one book writers as diverse as Gloria Anzaldúa, Nicholas Black Elk, David Bradley, Abraham Cahan, S. Alice Callahan, Raymond Chandler, Frank Chin, Elizabeth Cook-Lynn, Countee Cullen, Frederick Douglass, Paul Laurence Dunbar, Jessie Fauset, William Faulkner, F. Scott Fitzgerald, Allen Ginsberg, Jovita González, Rolando Hinojosa, Langston Hughes, Zora Neale Hurston, Lawson Fusao Inada, James Weldon Johnson, Erica Jong, Maxine Hong Kingston, Irena Klepfisz, Nella Larsen, Emma Lazarus, Sinclair Lewis, Genny Lim, Claude McKay, Herman Melville, N. Scott Momaday, William Northup, John Okada, Miné Okubo, Simon Ortiz, Américo Paredes, John P. Parker, Ann Petry, Tomás Rivera, Wendy Rose, Morris Rosenfeld, John Steinbeck, Harriet Beecher Stowe, Henry David Thoreau, Mark Twain, Yoshiko Uchida, Tino Villanueva, Nathanael West, Walt Whitman, Richard Wright, Hisaye Yamamoto, Anzia Yezierska, and Zitkala-Ša. Leading readers on an enticing journey across the borders of physical places and imaginative terrains, the book includes over 60 images, and extended excerpts from a variety of literary works. Each chapter ends with resources for further exploration. Writing America reveals the alchemy though which American writers have transformed the world around them into art, changing their world and ours in the process.

Literary Landmarks from Walden Pond to Wounded Knee (A Reader's Companion)

Writing America

Gordon H. Chang

This landmark volume sheds light on the lives and experiences of the Chinese workers who made up 90% of the workforce that built the Central Pacific Railroad--but who have been little understood and largely invisible in traditional accounts of the building of the First Transcontinental Railroad.

Building the Transcontinental Railroad

The Chinese and the Iron Road

Mark Twain has been called the American Cervantes, our Homer, our Tolstoy, our Shakespeare. Ernest Hemingway maintained that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." President Franklin Delano Roosevelt took the phrase "New Deal" from A Connecticut Yankee in King Arthur's Court. Twain's Gilded Age gave an entire era its name. Twain is everywhere--in ads for Bass Ale, in episodes of "Star Trek," as a greeter in Nevada's Silver Legacy casino. Clearly, the reports of his death have been greatly exaggerated. In Lighting Out for the Territory, Twain scholar Shelley Fisher Fishkin blends personal narrative with reflections on history, literature, and popular culture to provide a lively and provocative look at who Mark Twain really was, how he got to be that way, and what we do with his legacy today. Fishkin illuminates the many ways that America has embraced Mark Twain--from the scenes and plots of his novels, to his famous quips, to his bushy-haired, white-suited persona. She reveals that we have constructed a Twain often far removed from the actual writer. For instance, we travel to Hannibal, Missouri, Mark Twain's home town, a locale that in his work is both the embodiment of the innocence of childhood and also an emblem of hypocrisy, barbarity, and moral rot. The author spotlights the fact that Hannibal today attracts hundreds of thousands of tourists and takes in millions yearly, by focusing on Tom Sawyer's boyhood exploits--marble-shoots and white-washed fences--and ignoring Twain's portraits of the darker side of the slave South. The narrative moves back and forth from modern Hannibal to antebellum Hannibal and to Mark Twain's childhood experiences with brutality and slavery. Her exploration of those subjects in his work shows that Tom Sawyer's fence isn't the only thing being white-washed in Hannibal. Fishkin's research yields fresh insights into the remarkable story of how this child of slaveholders became the author of the most powerful anti-racist novel by an American. Whether lending his name to a pizza parlor in Louisiana, a diner in Jackson Heights, New York, or an asteroid in outer space, whether making cameo appearances on "Cheers" and "Bonanza," or turning up in novels as a detective or a love interest, Mark Twain's presence in contemporary culture is pervasive and intriguing. Fishkin's wide-ranging examination of that presence demonstrates how Twain and his work echo, ripple, and reverberate throughout our society. We learn that Walt Disney was a great fan of Twain's fiction (in fact, "Tom Sawyer's Island" in Disneyland is the only part of the park that Disney himself designed) as is Chuck Jones, who credits the genesis of cartoon character Wile E. Coyote to the comic description of a coyote in Roughing It. We learn of Mark Twain impersonators (Hal Holbrook, for instance, has played Twain in some 1,500 performances) and recent movie versions of Twain books, such as A Million to Juan. And we discover how Twain's image can be seen in claymation, in animatronics and robotics, in virtual reality, and on any number of home-pages on the Internet. Lighting Out for the Territory offers an engrossing look at how Mark Twain's life and work have been cherished, memorialized, exploited, and misunderstood. It offers a wealth of insight into Twain, into his work, and into our nation, both past and present.

Reflections on Mark Twain and American Culture

Lighting Out for the Territory

Frederick Busch

Judith Yaross Lee

Thirty-eight tales and sketches include "Advice to Little Girls," "A Dog's Tale," and "The Danger of Lying in Bed"

Shelley Fisher Fishkin

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