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Though Twain enjoyed a great deal of professional and financial success, a series of bad investments led him to bankruptcy, and in 1894, his publishing company failed.
"[H]is domestic essays are standouts, especially one about a servant who talked too much (and whom Twain loved for it).
It is easy to pluck individual utterances by Twain, written over many years and for many occasions, to convey a sense of his enduring piety; but the overwhelming majority of his public writings--and, in particular, those of his writings that he deemed too incendiary for publication in his lifetime--betray a scathing condemnation of both the metaphysical and the ethical foundations of the Christian religion and the repeated failings of Christians to live up to the best features of their faith.
She adored Twain, and referred to him as "the King" in her diaries and believed him to be "the gentlest, most considerate, most lovable creature in all the Earth".
The fully-managed component enables users to acquire images from any TWAIN compliant device, such as scanners and cameras, or load local images.
Holbrook figures he's performed "Mark Twain Tonight" more than 2,000 times.
However, Vogel is on the defensive, and he directs his assault against two sources: my article, "'A Number-One Troublemaker': Mark Twain's Anti-Semitic Discourse in 'Concerning the Jews,'" (Studies in American Jewish Literature 15 [1996]) and Sander Gilman's "Mark Twain and the Diseases of the Jews" (American Literature 65 [March 1993]).
Chapter One, on "Mark Twain's Roots," plays off his conventional upbringing, including reading the Bible through by age fifteen (25) against the debunking influences of his young manhood.
Twain had one big theatrical hit with Colonel Sellers in 1874, but the other works he wrote for the stage are notoriously awful.
Each chapter carefully documents a different phase of the Bermuda history, starting with Twain's first visit at the end of a well-publicized 1867 grand tour (documented in Innocents Abroad), and ending with a convalescent stay less than two weeks before his death in 1910.
Where earlier authors looked to England and Europe for aesthetic inspiration and cultural validation, writes Powers, Twain provided a "radically new native voice [that was] diametrically the opposite of Jamesian eloquence [and which] radiated, in its very homespun ardency, a new sort of American truth."
While entertaining us by poking holes in the silly superstitions of that age and by recounting amusing tales of madcap royalty and armor-clad knights that "clatter like a crate of castings" as they ride, Twain's story unfolds at a much more profound level as a powerful statement about cultural change and modernity.
LELAND KRAUTH REMINDS US, in this substantive study, that Mark Twain referred, in his "Chapters from My Autobiography," to over a hundred authors of his time, considering himself, in Krauth's words, as "a member of a confederacy of craftsmen" (260).
Maxwell Geismar refers to Twain as an "eloquent and outraged atheist." "He never became a Christian," writes Justin Kaplan, winner of the Pulitzer prize for his Twain biography.
All modern American literature," Ernest Hemingway wrote, "comes from one book by Mark Twain called 'Huckleberry Finn.' There was nothing before.