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o Includes the authoritative texts for eleven pieces written between 1868 and 1902 o Publishes, for the first time, the complete text of "Villagers of 1840-3," Mark Twain's astounding feat of memory o Features a biographical directory and notes that reflect extensive new research on Mark Twain's early life in Missouri Throughout his career, Mark Twain frequently turned for inspiration to memories of his youth in the Mississippi River town of Hannibal, Missouri. What has come to be known as the Matter of Hannibal inspired two of his most famous books, Tom Sawyer and Huckleberry Finn, and provided the basis for the eleven pieces reprinted here. Most of these selections (eight of them fiction and three of them autobiographical) were never completed, and all were left unpublished. Written between 1868 and 1902, they include a diverse assortment of adventures, satires, and reminiscences in which the characters of his own childhood and of his best-loved fiction, particularly Huck Finn and Tom Sawyer, come alive again. The autobiographical recollections culminate in an astounding feat of memory titled "Villagers of 1840-3" in which the author, writing for himself alone at the age of sixty-one, recalls with humor and pathos the characters of some one hundred and fifty people from his childhood. Accompanied by notes that reflect extensive new research on Mark Twain's early life in Missouri, the selections in this volume offer a revealing view of Mark Twain's varied and repeated attempts to give literary expression to the Matter of Hannibal.
"A publication of the Mark Twain Project of the Bancroft Library."
Started in 1885, this novel was left unfinished by Mark Twain, and was completed in 2002 by Lee Nelson.
"An audacious and revisionary sequel to Twain’s masterpiece. It is both true to the spirit of Twain and quintessentially Cooveresque." —Times Literary Supplement At the end of Huckleberry Finn, on the eve of the Civil War, Huck and Tom Sawyer decide to escape “sivilization” and “light out for the Territory.” In Robert Coover’s vision of their Western adventures, Tom decides he’d rather own civilization than escape it, leaving Huck “dreadful lonely” in a country of bandits, war parties, and gold. In the course of his ventures, Huck reunites with old friends, facing hard truths and even harder choices.
The Oxford Handbook of Children's Literature is at once a literary history, an introduction to various theoretical perspectives and methodological approaches, a review of genres, and a selection of original and interdisciplinary essays on canonical and popular works for children in the Anglo-American tradition. It is geared toward graduate students, advanced undergraduates, and scholars new to the study of children's literature, as well as teachers and anyone wishing to keep up with new research and innovative approaches to children's literature. Twenty-six essays by top scholars from varied disciplines address theoretical, historical, sociological, and critical issues through analyses of classic novels such as Alice's Adventures in Wonderland, Anne of Green Gables, The Swiss Family Robinson, Tom Sawyer, Kidnapped, and Five Little Peppers and How They Grew; early educational and religious works such as The New England Primer and Froggy's Little Brother; picture books, comics and graphic novels such as Millions of Cats, Where the Wild Things Are, the Peanuts series and American Born Chinese; early readers such as The Cat in the Hat and the Frog and Toad books; newer children's classics including Are You There, God? It's Me, Margaret, Jade, Roll of Thunder, Hear My Cry, The Circuit, the Harry Potter series and His Dark Materials trilogy; works of poetry such as The Bat Poety and The Dreamkeeper; a play, Peter Pan; and media classics such as Free to Be You and Me and Dumbo. An editors' introduction surveys key trends in criticism, the field's history, and foundational scholarship.
In Its Distrust Of Too Much Civilisation And Its Concern With The Way Language Turns Dreamy And Corrupt When Divorced From The Real Condition Of Life, Huckleberry Finn Echoed Some Of The Central Concerns Of Life Today. Like All Great Works Of Fiction Where No Story Is Told As If It Is The Only One, Huck Finn Is Open-Ended, The 'Unfinished Story' Where The True Meaning Is Left To The Conscience And Imagination Of Each Reader.
Something is not right in the world of Tom Sawyer and Huckleberry Finn. The unease is less evident to Tom, the manipulator, than to the socially marginal Huck. The trouble is most dramatically revealed when Huck, whose "sivilized" Christian conscience is developing, faces the choice between betraying his black friend Jim--which he believes is his moral duty--and letting him escape, as his heart tells him to do. "Bad faith" is Forrest Robinson's name for the dissonance between what we profess to believe, how we act, and how we interpret our own behavior. There is bad faith in the small hypocrisies of daily living, but Robinson has a much graver issue in mind--namely slavery, which persisted for nearly a century in a Christian republic founded on ideals of freedom, equality, and justice. Huck, living on the fringes of small-town society, recognizes Jim's humanity and understands the desperateness of his plight. Yet Huck is white, a member of the dominant class; he is at once influenced and bewildered by the contradictions of bad faith in the minds of his fully acculturated contemporaries. Robinson stresses that "bad faith" is more than a theme with Mark Twain; his bleak view of man's social nature (however humorously expressed), his nostalgia, his ambivalence about the South, his complex relationship to his audience, can all be traced back to an awareness of the deceits at the core of his culture--and he is not himself immune. This deeply perceptive book will be of interest to students of American literature and history and to anyone concerned with moral issues.