2019 Mark Twain Writing Contest & Portraying Mark Twain Art Competition Open To Elmira College Students

Mark Twain portrait

The Center for Mark Twain Studies is sponsoring two competitions: The 26th Annual Mark Twain Writing Contest & The 3rd Annual “Portraying Mark Twain” Art Competition.

Both contests are open to all Elmira College students.

The Mark Twain Writing Contest solicits excellent student writing related to Mark Twain, his life, works, and times. Academic essays and creative writing are both strongly encouraged.

All submissions should be typed, double-spaced, and formatted according to MLA style. A submission length of 1000-1500 words is recommended, but submissions of any length will be considered.

The author of the winning essay will receive a $250 cash prize and have their name engraved on the statuette in the entryway of McGraw Hall. Exceptional essayists may be invited to submit to partner journals or to publish on MarkTwainStudies.org. Additional runners-up may also receive cash prizes.

Please submit your essay via email to Dr. Joe Lemak, Director of the Center for Mark Twain Studies ([email protected]). All entries will be judge anonymously by Dr. Matt Seybold, Assistant Professor of American Literature & Mark Twain Studies.

The deadline for submissions is February 15, 2019

CMTS also sponsors the “Portraying Mark Twain” Art Competition, open to visual artists in all mediums and genres.

A $350 prize pool will be divided between winning entries, which will also be displayed on campus and/or via MarkTwainStudies.org.

Further guidelines for submissions may be found here. The deadline for entry is March 30, 2019.

Documentary About Mark Twain & Joan of Arc Wins Top Prize at Paris Film Festival

Mark Twain et Jeanne d’Arc: L’hisoire d’une passion, a French-language short documentary about Twain’s lifelong interest in the iconic heroine, Joan of Arc, was recently awarded the top prize in the documentary category at the Anstia Film Festival in Paris.

The film, written by recent Quarry Farm Fellow, Ronald Jenn, and directed by Patrice Thery, uses pictures and documents from French and American archives, including our own, to familiarize its audience with the author, the subject of his passionate interest, and, finally, the novel, Personal Recollections of Joan of Arc, which he published in 1896.

The film made its US debut in August of 2017 here in Elmira, as part of our 8th Quadrennial Conference on the State of Mark Twain Studies. It prominently features Elmira College alumna, Olivia Clemens, and discusses the importance of Elmira and Quarry Farm in Twain’s life.

Jenn, who is also a professor at Universite Lille, reports,

“The jury, comprised of an iconic anchorwoman from France 3, a state-owned TV channel, a journalist from the same channel and two photographers/film-makers said that the movie stood out as exceptionally well-written, especially intriguing as to its topics and very well-made thanks to the wealth of quality images provided by the Mark Twain Project. They underlined the way research was made accessible to a large audience and the obvious international scholarly collaboration the film was the fruit of.”

We are so proud to have played our small part in that collaboration and offer a hearty congratulations to Professor Jenn and the other filmmakers. We thank them for promoting this under-appreciated piece of Twain’s legacy. We hope you will take a few moments to watch the film (with English subtitles) embedded below.

Thanksgiving Steeple-Jumping: The Sesquicentennial of Mark Twain’s “Conditional” Engagement

On Thanksgiving Day, 1868, Olivia Langdon “yielded a conditional consent” to Sam Clemens’s third proposal of marriage. They had know each other for less than a year, having been introduced on the occasion of a Charles Dickens reading in New York City the previous New Year’s Eve. Sam had made himself a fixture in Elmira during the Summer and Fall of 1868, going out of his way to visit the Langdons whenever there was an interruption in his American Vandal lecture tour.

On the Monday before Thanksgiving, following a sold-out show in Cleveland, Mark Twain scheduled a pro bono performance at the Elmira Opera House, donating the proceeds to a local fire department, and creating a convenient excuse for Livy to see him perform and for Sam to again impose upon her family for the holiday. Clemens told his friend Mary Fairbanks that, though Livy had been slowly falling for him during the preceding weeks, as he bombarded her with love letters, “the lecture Monday night brought the disease to the surface.”

He redoubled his efforts during Thanksgiving week, so frequently seeking time alone with her that her father made a joke of having the drawing-room measured while they were in it, to see if it was big enough to accommodate three people.

Trinity Lutheran Church, Elmira

The day before Sam was required to travel to his next booking, Livy “yielded,” sending the famously mercurial Clemens into fits of manic delight. In reporting their engagement to a few of his closest friends, he repeatedly joked, “If there were a church in town with a steeple high enough to make it an object, I would go out and jump over it!” (For those familiar with Elmira, a town with numerous steeples, this hyperbole was even richer.)

Writing to Livy after his lecture two days later, he said, “Never was a lecture so full of parentheses before. It was Livy, Livy, Livy, Livy, all the way through! It was one sentence of Vandal to ten sentences about you. The insignificant lecture was hidden, lost, overwhelmed, and buried under a boundless universe of Livy!”

But while Sam was driven to distraction by his eagerness to exclaim his love, the marriage was still far from assured. Its “conditions” being foremost the approval of Livy’s parents, Jervis and Olivia Lewis Langdon. Sam had announced his intentions on Thanksgiving, but they were not immediately agreed to. The Langdons were hesitant, perhaps understandably, to give their daughter away to a self-described vandal, cannibal, and wild man. The Elmira lecture, on this front, may not have worked to his advantage.

The Langdons asked Mr. Clemens to supply references (many of which, infamously, failed to testify on his behalf) and to demonstrate to their satisfaction that he was “a good, steady, reliable character” and “a Christian.” Sam consented to all these terms and, eager to please, volunteered to also quit drinking and only “seek the society of the good,” neither of which were asked of him and neither of which he followed through on, even temporarily.

When Livy’s mother wrote to Mary Fairbanks herself a few days later, asking for advice regarding Mr. Clemens, she admitted to being strongly prejudiced against him. “At first our parental hearts said no,” she wrote, “to the bare thought of such a stranger, mining in our hearts for the possession of one of the few jewels we have.” And the way she frames her request to Mrs. Fairbanks betrays the nature of her concern:

Olivia Lewis Langdon

“What I desire is your opinion of him as a man; what the kind of man he has been, and what the man he now is, or is to become. I have learned…that a great change has taken place in Mr. Clemens, that he seemed to have entered upon a new manner of life, with higher and better purposes actuating his conduct. The question…is – from what standard of conduct – from what habitual life, did this change, or improvement, or reformation commence? Does this change, so desirably commenced make of an immoral man a moral one, as the world looks at men? – or -does this change make of one, who has been entirely a man of the world, different in this regard, than he resolutely aims to enter upon a new, because a Christian life?”

I would be very hesitant to characterize the Langdons as prudish or risk adverse. To their credit, they would come to accept Sam’s proposal, after several months, and, despite his lack of character references, treated themselves as sympathetic witnesses to his mature temperament.

But the question that troubled them, the day after Thanksgiving, 1868, was whether a man who had not only made a habit, over his nearly 33 years, of committing vandalism, profanity, and heresy, but had recently risen, via his ironic promotion of such habits, to the status of “a somewhat celebrated personage,” had any incentive to change. If being the immoral Mark Twain had served him so well, why should anybody trust the sincerity of Sam Clemens’s pledges to be moral?

In the coming months, Sam would grow restless waiting for the Langdons to give their blessing. He would become defensive, presuming that the well-to-do family was shunning him for his humble origins and uncertain prospects. Writing directly to Livy’s mother the following February, he defiantly proclaimed, “I have paddled my own canoe since I was thirteen, wholly without encouragement or assistance from any one, and am fully competent to so paddle it the rest of the voyage, and take a passenger along, beside…we can make the canoe go, and we shall not care a straw for the world’s opinion about it if the world chooses to think otherwise.”

But what Olivia Lewis’s letter to Mary Fairbanks reveals is that the Langdons were not the least bit concerned about their daughter’s financial security. To the contrary, they seemed to take his increasing fame and fortune as a given, worrying rather that the wealth itself might be damaging to his character, reinforcing habits and values of a lower order by proving them profitable.

The Apocryphal Twain: “Politicians are like diapers.”

There is perhaps no greater testament to Twain’s lasting reputation than the habitual misattribution of miscellaneous wit and wisdom to his name. The circulation of such apocryphal aphorisms was common enough in the 20th century. It has only increased with the popularization of digital media. The most common question addressed to the Center for Mark Twain Studies is some variety of “Did he really say that?” Whenever possible, we track down the original source, as well as attempt to trace how their words came to be imagined in Twain’s mouth.

Mark Twain did not hold politicians in high esteem. He was particularly spiteful towards the legislative branch in novels like The Gilded Age (1873) and short stories like “Cannibalism in the Cars” (1868). “There is no distinctly American criminal class except Congress,” he wrote in Puddn’head Wilson (1894). In “What is Man?” (1906) he speculated that “Fleas can be taught nearly anything that a Congressman can.” Given the viciousness of his real attacks on elected officials, spanning across his whole career, it is probably no surprise that the corpus of Twain apocrypha includes many pot-shots at politicians.

On the eve of what is anticipated to be one of the highest-turnout midterm elections in US history, one such aphorism is proving particularly popular:

While he might have appreciated the sentiment, it is pretty easy to determine that this is not something Twain actually said. Not only does the quote fail to appear in his published works, nor in his many accessible private writings, I can’t even find an instance of Twain using the term diaper, except in a joke about the “Royal Diaperer” in The Prince & The Pauper (1891). That he would only invoke the term in a novel which is, in part, a send-up of British aristocracy, is telling. The word diaper was not part of the common parlance of America during most of Twain’s life. As the following Google ngram shows, diaper did not supplant the nappy (or napkin) in American vocabulary until late in the 19th century, and did not achieve anything rivaling its widespread contemporary usage until the second half of the 20th.

Rather than Twain, the man most responsible for the popularity the aphorism now enjoys in probably Robin Williams. In the film Man of the Year (2006), Williams’s character utters the lines, “Remember this ladies and gentleman: It’s an old phrase, basically anonymous, politicians are a lot like diapers, they should be changed frequently, and for the same reasons. Keep that in mind the next time you vote.”

This speech not only appears near the climax of the film, but also figured prominently in the publicity campaign surrounding the film’s release in the Fall of 2006. Predictably, the quote started appearing regularly on social media soon thereafter. However, I can find no instance of its being attributed to Twain until two years later, first in a series of tweets by Dr. Larisa Varenkova. It was retweeted several times, then bounced around social media in relative obscurity until, in September of that year, Mike Hanes, a motivational speaker with tens of thousands of followers, took it upon himself to start tweeting it multiple times every day from two separate accounts. This continued for several months, and probably marks the point after which the misattribution to Twain became widely accepted.

But who is actually responsible for this nugget of bawdy political wit?

It seems likely that Barry Levinson, the screenwriter for Man of the Year, got it from Paul Harvey. Williams’s character is populist political commentator with folksy charm, which is also an accurate description of Harvey, whose syndicated “The Rest of the Story” was a staple of ABC Radio for more than half a century. Obituaries for Harvey in the New York Times and Forbes following his death in 2009 give him credit for a very similar aphorism targeting “occupants of the White House” and it also appears in newspaper accounts of his public appearances from the 1990s.

But Harvey himself, in a syndicated editorial from June 1994, credits the exact quote – “Politicians, like diapers, should be changed often. And for the same reasons.” – to Tom Blair, a longtime columnist for the San Diego Union-Tribune. Harvey likely got this attribution from a 1993 issue of Reader’s Digest in which the aphorism was excerpted with Blair’s byline.

But, when one tracks down the article which Reader’s Digest quoted from, one discovers that Blair himself was quoting a local candidate on the Libertarian ticket. John Wallner used the line repeatedly during his unsuccessful bid for a congressional seat in 1992, and thus it found its way into several major papers, including the Los Angeles Times, which dubbed it “the best line in a losing cause.”

One can’t help wondering whether Wallner would’ve still endorsed this catchphrase had he won.

Be kind to each other this Election Day…if not to your Congressmen.

Neoliberal Rationality in The Old Gilded Age: Introductory Address at 2018 Quarry Farm Symposium

At the outset of his chapter on “The Economics of American Literary Realism” in The Routledge Companion to Literature & Economics (published today, by the way)Henry Wonham asks whether “the diverse set of writers generally aligned with the aesthetic disposition of realism…share an overriding interpretation of the economic conditions that inspired [Mark] Twain and [Charles Dudley] Warner to give [the Gilded Age] its notorious moniker?” The 2018 Quarry Farm Symposium on “American Literary History & Economics in the New Gilded Age” is dedicated in part to answering Wonham’s question, as well as another which it naturally inspires: Does the reappearance of the economic conditions of the Gilded Age, whether in the Era of Good Feelings, the Roaring Twenties, or our own time, correspond with a recycling of aesthetic phenomena?

The potential for an intrinsic link between cultural and economic cycles, what I have elsewhere called the “rhyme of crisis,” provides a rare occasion for agreement between Karl Marx and John Maynard Keynes. Marx treats mass culture as a projection of class consciousness created by prevailing material conditions, while Keynes argues that changes in macroeconomic conditions are catalyzed by the persuasive narratives saturating the public consciousness via mass media. Their disagreement – about the chain of causation between culture and economy – may not be resolvable, but I’m not sure it needs to be. Merely that such a link exists and manifests itself in the literary record provides a more than adequate foundation for numerous scholarly projects. Projects which have the added benefit of eroding arbitrary periodizations and encouraging conversations across specializations and even disciplines, as is happening this weekend.

Keynes defines economics as a “habit of mind,” a “way of thinking,” and a “branch of logic.” He was quick to remind his colleagues, in the face of their scientistic delusions, that the economy is an imaginary, and, like novelistic fiction, one which is made seductive by the hubris and scope of its claims to verisimilitude. Because no one can imagine the whole of it, every claim about the economy is deeply speculative and contingent. On this front, Keynes had the full support of both his infamous rival, Friedrich Hayek, and his rejected mentor, Alfred Marshall.  All of them worried that their nascent discipline would be corrupted by vain and partisan men who were willfully blinded to the limitations of their economic imaginary by the temptation to whisper in the ears of “madmen in authority.” For this reason, Marshall, who, as founder of the first department, at Cambridge, did as much as anyone to institutionalize Economics, wrote, later in life, “I do not think it would be well that Economics should be studied by very many men, even at Cambridge.”


The next generation of economists proceeded, with Faustian arrogance, to present their speculative and contingent imaginary as natural science, insisting that economics was not merely a way of thinking about the complex world, but the only reasonable way of thinking. What Wendy Brown calls “neoliberal rationality” became, through calculated colonization and bureaucratic symbiosis in education, government, and business, a globally hegemonic habit of mind. We are all under pressure to be, as Brown puts it, “always, only, and everywhere…homo oeconomicus.” Neoliberal rationality, “saturat[es] the practices of ordinary institutions and discourses of everyday life…remak[ing] other fields of existence in…its own terms and metrics.” Paul Samuelson unselfconsciously summarizes his profession’s imperial impulse when he says, “I don’t care who writes a nation’s laws – or crafts its advanced treaties – if I can write its economics textbooks.”

Wendy Brown, like Foucault, places the emergence of neoliberal rationality in the late 20th century. Yet, if our culture, as well our economic conditions, mirror the Gilded Age, we could presumably find neoliberal rationality then as well. Consider this passage in a letter Sam Clemens wrote shortly after the death of his eldest daughter:

I did not know that Susy was part of us; I did not know that she could go away, & take our lives with her, yet leave our dull bodies behind. And I did not know what she was. To me she was but treasure in the bank; the amount known, the need to look at it daily, handle it, weight it, count it, realize it, not necessary; & now that I would do it, it is too late; they tell me it is not there, has vanished away in a night, the bank is broken, my fortune is gone, I am a pauper. How am I to comprehend this? Why am I robbed, & who is benefitted?

The image of the “broken” bank was an all too familiar one for Twain, who went bankrupt during the Panic of 1893, and spent the intervening years scrambling to repay his debts and claw his way back to affluence. When Susy fell ill, he was completing a worldwide lecture tour, and thus he found himself separated by oceans, unable to comfort her, unable to attend her funeral, unable to ever fully reconcile himself to her loss, which he blamed upon himself being, like his father and brother before him, constitutionally unfit for business.

Twain spent these years sacrificing his health, his solace, and his artistic ambitions to fulfill his duty as breadwinner. He undertook a crash course in economic rationality from Standard Oil executive Henry Rogers. While he admired Rogers, Twain bristled at the assumptions about human nature underlying the conventional wisdom of US capitalism and the ascendant school of neoclassical economics. As he alludes to the conflation of his parental grief with what, after Susy’s death, seemed petty pecuniary losses, his outrage at the callousness of economics creeps to the surface. He had become so engrossed in neoliberal rationality that he had allowed himself to think of his daughter as human capital, as an appreciating asset in his vault. With characteristic self-loathing, Twain burlesques the underlying assumptions of neoclassical economics in order to expose them as ludicrous and shameful. He concludes with a promise to his confidante that, from this point forward, he will “pay as [he] can, in love; and in this coin practicing no economy.”

The greatest character Twain created in the years surrounding his bankruptcy was David Wilson, better known as “Puddn’head.” Wilson is a polymath and an iconoclast, who enjoys nothing more than questioning conventional wisdom. And because he spends so much time surveying the borders of prescribed knowledge, Puddn’head retains a healthy regard for the “great dark” that lies beyond the horizon of his own intelligence.

On these terms at least, David Sloan Wilson is also a “Puddn’head.” He has done much to erode the conventional wisdom of economics in books like Does Altruism Exist? and essays at Evonomics.com which submit it to the more rigorous standards of evolutionary science. He has also, in The Literary Animal, argued with admirable Puddn’headedness that the relationship between literary studies and evolutionary theory may be “mutually reinforcing.” If we hope to mount a resistance to the false narratives of neoliberal rationality, we need our discipline to explore and expand this natural alliance.

On behalf of the Elmira College Center for Mark Twain Studies, I am proud to welcome tonight’s keynote speaker, David Sloan Wilson and kickoff the 2018 Quarry Farm Symposium.

150 Years of Mark Twain in Elmira: Dickens Holidays, The Gospel of Revolt, & The Quarry Farm Style

2018 marks the sesquicentennial anniversary of Mark Twain’s first visit to Elmira, the town where he would meet his wife, spend many of his summers over the remainder of his life, write several of his most acclaimed books, and finally be laid to rest. In the following essay, Dr. Seybold commemorates the occasion by offering his estimation of what Elmira meant to Mark Twain. 

January 26, 1905

Jervis Langdon (left), Samuel Clemens & Charles Langdon (right)

It was the 30th birthday of Mark Twain’s nephew, Jervis Langdon. His father, Charley Langdon, had met Samuel Clemens when they were both passengers on the world’s first pleasure cruise in 1867. Little did young Charley know that his new friend was fashioning their voyage into a series of humorous newspaper dispatches which would become the basis for one of the bestselling books of the 19th century, The Innocents Abroad.

By the time that book was published, Sam and Charley would both be engaged. Their marriages would take place within a few blocks of one another, officiated by the same famous minister, Thomas K. Beecher. A decade later, they would have seven children between them, who spent four months every summer frolicking together on the sloping lawns of Quarry Farm with a menagerie of cats, dogs, horses, cows, and goats belonging to their aunt, Susan Crane.

Charles Langdon & Ida Clark Marriage Certifican, Courtesy of Chemung County Historical Society

Samuel Clemens & Olivia Langdon Marriage Certificate, Courtesy of Chemung County Historical Society

30-year-old Jervis Langdon could remember those carefree summers. Susy Clemens, named for that aunt, showed him how he could send coded messages to his cousins at the hilltop farm from the windows of his family’s mansion in the town below by turning a hand mirror towards the full moon. On many a summer’s eve, he and his cousins sat huddled around Uncle Sam on the farmhouse’s open-air porch as he told fabulous stories or read from manuscripts of his works-in-progress before the ink was even dry.

If 30-year-old Jervis was nostalgic on this January evening in 1905, he could hardly be blamed. It wasn’t just his own milestone birthday. He was expecting the imminent birth of his own first child, a son, who would arrive just two days later. Were this not cause enough for sentiment, he found himself dressed as a character from one of the stories which had been routinely read aloud to him, as well as his sisters and cousins. He was preparing to attend, along with many other prominent residents of Elmira, NY, a “Dickens reception.” Each guest would be costumed as a character from one of the novelist’s works.

Jervis (left) & Ida (right) Langdon with Artist’s Rendering of Caleb & Bertha Plummer from 1905 Edition of THE CRICKET ON THE HEARTH

Jervis had been cast in the part of Caleb Plummer from The Cricket On The Hearth. His sister, Ida Langdon, who had recently matriculated from Bryn Mawr and would later become a professor of English at Elmira College, chose the part of Caleb’s blind daughter, Bertha, while friends took auxiliary parts in the story, including Crystal Eastman, Ida’s best friend, as Tilly Slowboy, and Dorothy Mather as Mrs. Fielding. Within a few years all three recent graduates (Eastman from Vassar and Mather from Cornell) would be suffragettes and members of the American Association of University Women, an organization committed to increasing the representation of women in higher education.

An Account of the Dickens Reception Appeared in the Elmira Star-Gazette on January 27, 1905

Charles Dickens had a special significance for the Langdon siblings. Many years earlier, their father and Aunt Livy had gone to see Mr. Dickens read at sold-out Steinway Hall in New York City on New Years Eve. They were joined that night by Charley’s increasingly infamous new friend, whom they called Sam, but who signed his scathing review of the performance “Mark Twain.” This was Olivia Langdon’s chaperoned first date with the man who would become her husband. Twain was so smitten that in his review he couldn’t help mentioning, some might call it boasting, that he had attended Dickens’s reading with “a highly respectable” and “beautiful young lady.”

Thus began one of the most unexpectedly sweet seductions in American cultural history, as Samuel Clemens, initially ignored and then rebuffed by the devout and decorous Olivia Langdon, fell back upon what would prove his greatest talent, writing, over a hundred letters cascading into the Langdon home through the ensuing months, supplemented by occasional visits. The year was 1868.

When Sam visited the Langdons again for Thanksgiving, Livy finally yielded her conditional consent to his proposal. She sent her fiancé off on another leg of his “American Vandal” lecture tour. But while Mark Twain spent the next month joking, smoking, and drinking his way through the Midwest, Olivia faced the reality, alone, that this might be her last Christmas season in the only home she had ever known, surrounded by family she adored. She wrote to Sam, “To think of having them grow used to my being absent, so that at last they would cease to miss me, made me feel as if I wanted father to put his arms about me and keep me near him always.”

Sam contemplated this letter in a Central Michigan boarding house on Christmas Eve, with only the fading fire in an unfamiliar hearth and a series of holiday brandies to keep him warm. He reflected on his fiancé’s fears, her family, and his own, from whom he felt increasingly detached, and was inspired to make an extraordinary promise:

I just don’t wonder that it makes you sad to think of leaving such a home, Livy, and such household Gods—for there is no other home in all the world like it—no household gods so lovable as yours, anywhere. And I shall feel like a heartless highway robber when I take you away from there…

I’ll not read that passage again for an hour!—for it makes the tears come into my eyes every time, in spite of me. You shall visit them, Livy—and so often that they cannot well realize that you are absent. You shall never know the chill that comes upon me sometimes when I feel that long absence has made me a stranger in my own home…a dull, aching consciousness that long exile has lost to me that haven of rest, that pillow of weariness, that refuge from care, and trouble and pain, that type and symbol of heaven, Home—and then, away down in my heart of hearts I yearn for the days that are gone & the phantoms of the olden time!—for the faces that are vanished; for the forms I loved to see; for the voices that were music to my ear; for the restless feet that have gone out into the darkness, to return no more forever!

But you shall not know this great blank, this awful vacancy, this something missed, something lost, which is felt but cannot be described, this solemn, mysterious desolation. No, I with my experience, should dread to think of your old home growing strange to you.

(see the whole letter from the Mark Twain Project)

I have tried several times, and am trying again now, to articulate the consequences of this promise, which I think cannot be overestimated. But for this promise, made by a famously itinerant and oft-inebriated author in the wee hours of Christmas morning 150 years ago, the Center for Mark Twain Studies would not exist, nor would anybody be obligated to preserve Quarry Farm for posterity. For it was Sam’s dedication to this promise, more important perhaps even than his wedding vows, which ensured the Clemens family’s annual pilgrimage to Elmira.

And it was in Elmira that not only was Olivia spared the “dull, aching consciousness of long exile” which her husband felt, but Sam found, looking out across the Chemung River Valley, a new “symbol of heaven.” The vanished faces, musical voices, and “phantoms of the olden times” came floating through the windows on all sides of the study Susan Crane built for him, inspiring him to produce a series of novels in what I call The Quarry Farm Style: full of whimsical children and nostalgia for an American past, but also politically radical, like the community in which they were written.

Frontispiece to First Edition of Charles Dickens’s THE CRICKET ON THE HEARTH

As Sam and Livy (as well as Charley and his new wife, Ida Clark) settled into domesticity and child-rearing in the 1870s, they would associate Dickens with that first date at Steinway Hall, that tear-stained letter from Lansing, and, as many do, with the holiday season. They read Dickens’s books aloud to their children, such that his characters intermingled with Twain’s, forming the premise for a range of allusions, inside jokes, and family folklore which passed through the generations. The novella which inspired Jervis and Ida Langdon’s costumes in 1905 was, as Dickens himself described it, a “fairy tale of home” dedicated to his own infant son.


The Quarry Farm Style

The Clemenses did not attend the Dickens reception in 1905, but those who did reflect both how Mark Twain brought out the best in Elmira, and why Elmira brought out the best in Mark Twain. The reception took place at the Elmira Industrial School. The 36-year-old school was one of several educational institutions, including Elmira College and Elmira Free Academy, which had been founded through the financial backing of another Jervis Langdon, grandfather to the Jervis who celebrated his birthday that night. Each of these groundbreaking educational institutions made possible by the Langdon fortune were sustained in the ensuing decades by other local financial benefactors, as well as by many Elmirans who volunteered as teachers, administrators, fundraisers, and advocates.

The mission of Elmira Industrial School was to provide a free trade school education to any young women willing to dedicate herself to establishing financial independence. The students came from “homes of poverty and vice” and were mentored by an entirely female faculty, including many of the affluent young women who were graduating from elite private colleges in the region, like Bryn Mawr, Vassar, Cornell, Smith, Oberlin, and Elmira. Several of ladies who attended the Dickens reception were faculty, volunteers, and/or alumna of the three local institutions all dedicated to counteracting the effects of social and economic oppression.

The elder Jervis and Olivia Lewis Langdon, the original owners of Quarry Farm, were the foundation stones upon which was built a remarkable tradition of generosity and community service which survived them and their famous son-in-law. In his eulogy for the first Jervis Langdon, Thomas K. Beecher made the outrageous claim that “Envy’s self was silenced at sight of his prosperity, so many were sharing in it.”

Beecher had learned repeatedly that the Langdons considered their millions only as valuable as the causes for which they could be put to work. When, in 1846, their church refused to condemn slavery, the started a new one, joined the Underground Railroad, and told the abolitionists who passed through their enormous mansion – including the likes of Frederick Douglass and William Lloyd Garrison – that “the family house and purse were at the service of fugitives from slavery.”

Thomas K. Beecher

Eight years later, when they asked the most controversial memberof the most famous family of theologians in America to come lead their renegade church, he laid out terms which he though no congregation would accept, largely because of his exceptional emphasis on community service. The Langdons accepted his terms without negotiation. The progressive, inclusive congregation he imagined grew so large it could only meet in an opera house, drawing the ire of rival churches and the regional Ministerial Union.

Interior of Park Church

Mark Twain responded to their condemnation of Beecher as one might expect, joking in a local newspaper that “a little group of congregationless clergymen, of whom I have never heard before, have crushed the famous Beecher and reduced his audiences from 1500 to 1475.” The Langdons came to Beecher’s defense much more quietly and effectively, buying up shares in the opera house so that no amount of social pressure could compel the proprietors to bar the doors, then beginning the process of building Beecher a church as big as an opera house, one that would look like nothing else in the nation, complete with a maze of apartments and a billiard room where one could occasionally find one of the nation’s most recognizable preachers drinking beer with the nation’s most recognizable infidel.

The still youthful Mark Twain who came to Elmira in 1868 had argued across a series of burlesque tales, stand-up routines, and travelogues that mankind in general, and Americans in particular, were natural hypocrites, charlatans, and misers, and that those who dared to believe otherwise were doomed to continual poverty and despair. Then he met the Langdons and this airtight thesis got shot all to hell.

Young Twain believed that all his countrymen had been converted to the “Revised Catechism” of Cornelius Vanderbilt and Jay Gould: “Get money. Get it quickly. Get it in abundance. Get it in prodigious abundance. Get it dishonestly if you can, honestly if you must.” But, as Twain put it, “Mr. Langdon was a man whose character and nature were made up exclusively of excellencies,” who could easily have gone “to Wall Street to become a Jay Gould and slaughter the innocents,” but instead endowed schools for girls, bought farms for fugitive slaves, and emboldened both his children and the people in his employ to test their most far-fetched idealisms on his dime. This confused Mark Twain.

Out of his confusion emerged the Quarry Farm Style, with its children who are not innocent, its cynics who are not hopeless, its free-thinking slaves and scientific magicians and heroes who decide to go to hell. It is a style which never lets you lose sight of your romantic idols, though whenever you reach for them it suffocates you under piles upon piles of corpses. So many corpses.


Those “Up-State” towns…

Clara Spaulding Stanchfield with 1911 Illustration of Mrs. Micawber from Charles Dickens’s DAVID COPPERFIELD

The Dickens reception in 1905 was hosted by Clara Spaulding Stanchfield, dressed as Mrs. Micawber from David Copperfield. Clara was Livy Clemens’s lifelong friend and fellow Elmira College alumna, after whom she named her second daughter. Clara’s husband, John B. Stanchfield, came as Mr. Dombey. He could call himself “Mark Twain’s lawyer” and only be mildly stretching the truth. The world-famous author retained counsel on a wide variety of matters in numerous jurisdictions, but he had been regularly consulting Stanchfield, both officially and unofficially, for decades, and their friendship reached back even further. Before the Stanchfields married, John and Sam had frequented the same billiard parlors, both using aliases. It is, indeed, reasonable to suspect that Sam may have played some role in matchmaking his amiable drinking buddy with his wife’s best friend.

John B. Stanchfield with Illustration of Mr. Dombey from 1867 Edition of Charles Dickens’s DOMBEY & SON

John rose rapidly in the ensuing years. He became a partner in the firm which is now Sayles & Evans, was a Democratic candidate for both Senator and Governor, and tried a series of prominent cases. He was also one of several Elmirans who aided the Clemenses during their time of greatest need, when Twain’s publishing house was plunged into bankruptcy following the Panic of 1893. With much of the nation descending into a credit crisis, the most affluent families in Elmira offered free consulting, low-interest loans, and other aid to their neighbors.

Flora Shoemaker with artist’s rendering of Ada Clare from Charles Dickens’s BLEAK HOUSE.

The young woman dressed as Ada Clare from Bleak Houseanother Elmira College graduate, suffragette, and member of the American Association of University Women, belonged to a family that purchased what they knew were likely worthless shares in the Paige Typesetter, thus helping increase the Clemens liquidity during a period of desperation: a charity made all the more charitable because it protected Sam and Livy’s pride by pretending it was not simply charity.

Crystal Eastman as Tilly Slowboy from Charles Dickens’s THE CRICKET ON THE HEARTH

This generation of Elmira women – Ida Langdon, Dorothy Mather, Flora Shoemaker, and Ruth Pickering among them – would be remarkably successful in promoting women’s rights both within the city and region, and throughout the nation. While all were devoted activists, their ringleader was clearly Crystal Eastman, who by this time had already discovered her talent for political organizing by leading a protest against rules requiring women wear skirts and stockings while swimming. Within a decade Crystal would become one of the most prominent and effective advocates for women’s suffrage, and this was hardly her most revolutionary position. Looking back upon the community in which she was raised, she wrote, “In this environment I grew up confidently expecting to have a profession and earn my own living, and also confidently expecting to be married and have children.”

Max Eastman

Crystal’s younger brother, Max Eastman, who would graduate from Williams College later in 1905, was not as cripplingly shy as he had been a few years earlier, but still struggled to converse with his sister’s outgoing friends, several for whom he would harbor lifelong crushes. It was hard to imagine that this skinny young man would, in ten years time, be one of the most controversial political voices in the country, founder of the Men’s League for Women’s Suffrage and editor of censored antiwar publications.

Max and Crystal would live for much of the teens and twenties in New York City’s Greenwich Village, and Max would make an extended visit to the Soviet Union to study with Leon Trotsky, and yet, he would always characterize Elmira as the most radical community in which he had ever lived. Many years later, in an essay titled “Mark Twain’s Elmira,” he would chastise a famous literary critic, Van Wyck Brooks, who ignorantly described Elmira as one of  “those ‘up-State’ towns…without the traditions of moral freedom and intellectual culture.” Eastman argued convincingly that the “social and political attitudes” which prevailed in Elmira “were far more radical than Mark Twain was when he arrived here.” Mark Twain and Elmira worked upon one another in “general rebellion” such that by the time Max came of age in the 1890s, he found himself “in the exact center of one of the most interesting clusters of people and ideas that American churchdom ever produced or found room to contain.”

Annis Ford Eastman and Illustration of Mrs. Blimber from 1867 Edition of Charles Dickens’s DOMBEY & SON

Adolescent Max met Mark Twain during the installation of an organ at Park Church. Max and Crystal’s mother, Annis Ford Eastman, who disguised herself as Mrs. Blimber from Dombey & Son for the Dickens gala in 1905,was the first women ordained in the state of New York. Beecher called her the best preacher he’d ever heard and, befitting both Beecher’s rebellious nature and Elmira’s emerging feminist culture, he chose her as his successor at the vaunted Park Church. His friend Mark Twain must have shared his high estimation of her character and talents, directing that she should handle his funeral rites.

Like Beecher, Annis Eastman’s unconventional approach to the pastorate went far beyond the happenstance of her gender. Max fondly remembers his mother reading the risqué Calamus poems from Walt Whitman’s Leaves of Grass aloud to her friend Julia Beecher and setting the hymn “Onward Christian Soldier” to the ragtime tune “There’ll Be A Hot Time In The Old Town Tonight,” The esteemed place of the Eastmans seems evidence enough that Elmira was not, as that literary critic had guessed, a “symbol…of all that vast and intricate system of privilege and convention.”

Mark Twain’s Study at its original Quarry Farm site, perched above Elmira.

Max Eastman wrote of Twain, “My admiration for the man was and still is as firm and emotional as though he were the saint of a faith to which I adhere.” This from a man whose parents were both pastors and who lived much of his youth in the apartments within the Park Church. The “gospel” written in Elmira, Max claims, “was one of self-reliant revolt against forms and conventions,” and it was authored not only by Mark Twain, but by the Langdons, Clemenses, Beechers, Stanchfields, Shoemakers, and Eastmans, by the students and faculty of the first degree-granting college for women and the secondary and trade schools those students helped to charter, by the thousands of parishioners who attended the largest and most progressive non-denominational church in 19th-century America, by the members of the city’s flourishing women’s rights organizations, and by the stalwart station-masters of the Underground Railroad, who not only sheltered fugitive slaves but persuaded former slaves, like Mary Ann Cord, the beloved cook at Quarry Farm, to settle here. It is no wonder, with such collaborators, Twain was able, in that octagonal study overlooking it all, to give birth to the Quarry Farm Style from which, according to Ernest Hemingway, all modern literature descends.

Max and Crystal Eastman were both at Sam’s funeral in 1910, as were the Stanchfields, his only surviving daughter, Clara, his nieces, Ida and Julia, and the brother-in-law, Charley, who first brought Sam Clemens into the circle of Elmira 43 years earlier. Mark Twain’s nephew, now 35 years of age, rode with the coffin from New York City, along the same rails which had taken his father to see Charles Dickens speak on New Years Eve in 1867, rails which had been laid when his grandfather was, at least according to Twain, the country’s only respectable railroad magnate.

Jervis Langdon Jr.

Jervis Langdon Jr., born two days after the Dickens ball, would also, like his great-grandfather, become a successful railroad executive. He likewise inherited that radical generosity which mesmerized Sam Clemens and inspired him to pay yearly homage to his wife’s “household Gods.” On December 31st, 1982, 115 years to the day after Charles Dickens read to Charley and Olivia Langdon (and a dumbstruck and unappreciative Mark Twain), Jervis Jr. signed the agreement which bequeathed Quarry Farm to Elmira College and founded the Center for Mark Twain Studies. Perhaps, though he was just five years old at the time, Jervis Jr. remembered something of what Annis Eastman had written in her eulogy for Samuel Clemens:

We are not here at this time to speak of the great man whose going hence the whole world mourns, nor to claim for him that place in the halls of fame which time can give him. We are not here to try to estimate his worth to the world, the service he has rendered to civilization and the moral progress of mankind, nor yet to eulogize him for the integrity, justice and magnanimity of his character. There will be time enough for all this in the days to come and many a voice more competent than mine to set forth the lessons of his life.

Though I suspect none of us would dare to claim more competence than Annis Eastman, Jervis Jr. has bequeathed to us the task which she deferred. The mission of the Center for Mark Twain Studies, made possible by the gift of Quarry Farm, is to create that “time enough” to “set forth the lessons of Twain’s life.” And the scholars who reside here “estimate the worth to the world” not only of Mark Twain, but of the too often forgotten and misremembered Elmira which made Mark Twain possible.


There are many ways you can help sustain the mission of the Center for Mark Twain Studies. You can become a Friend of CMTS by making a donation here or learn more by emailing us at [email protected] As part of our celebration of sesquicentennial of Mark Twain’s first visit to Elmira we are also launching a Quarry Farm Legacy Preservation Campaign. If you or your organization would like to participate, please contact Director Joe Lemak (information provided in link).


World Premiere of One-Act Play About Mark Twain & Claude Monet

The 2018 Humor in America Conference at Roosevelt University in Chicago included the world premiere of “Waiting For Susy,” a one-act play by Bruce Michelson.

Jim Caron as Claude Monet. Picture compliments of Larry Howe.

“Waiting for Susy” is set in Rouen in September of 1894, at a moment when Twain and his family were living in France, trying to save money and preparing for the global lecture tour which would begin the next summer. During the same year, Monet finished his famous Rouen Cathedral series and was, similarly, preparing to relocate to Norway where he would paint a new series of studies in white. The play is set on the boardwalk across from the cathedral’s front, Monet is working at his easel while Twain, who is waiting for his wife and daughter to finish shopping, paces and talks to himself. Some of the play’s humor arises from Twain remaining willfully ignorant of the identity of the man with whom he shares the stage, an inequitable anonymity which Monet chooses to enjoy to the end.

Michelson, an Emeritus Professor of English at University of Illinois who was also presented with the Charlie Award for lifetime achievement in Humor Studies during the conference, emphasized in his post-performance remarks that there is no evidence that Twain and Monet ever actually met, but his speculative premise was inspired by the realization that they were in roughly the same place at roughly the same time. In 1894 each was in his late fifties. At analogous points in their careers they found themselves simultaneously looking back upon their unlikely successes and wondering whether those successes could be sustained. Much of the dialogue flows from their often diverging outlooks on aging, work, fame, and the artistic temperament. Some of this is based upon the men’s actual writings, some on Michelson’s creative interpretation of their lives and works.

John Bird tackles the part of Sam Clemens. Picture compliments of Larry Howe.

Michelson’s script features three parts. In Chicago, Clemens/Twain was played by the appropriately grey and grizzled scholar, John Bird, Emeritus Professor of English at Winthrop University. Monet was played by Jim Caron, Professor of English at University of Hawaii at Manoa. And Susy Clemens, for whom the play is named, was played by M. M. Dawley, a recently-minted Ph.D. from Boston University. Considering all three actors performed without rehearsal, their delivery of the play’s many jokes and tricky phrases was impressive.

The greatest challenge of Michelson’s script, for both actors and audience, is its bilingualism. Monet’s character speaks primarily in French, but breaks into passable English once he and Twain warm to each other. Twain speaks almost exclusively English, though occasionally ventures to butcher a few French phrases. And Susy speaks fluently in both languages and thus acts as their translator or, in several humorous instances, elects not to.

As Michelson noted in his remarks, the events take place during the final prolonged period Twain would spend with his favorite daughter, who died tragically of meningitis less than two years later, while Twain was still wrapping up his world tour. In Michelson’s play, Susy is a vivacious, self-possessed young woman, who more than holds her own while matching wits with her cantankerous father and also wins over the Frenchman, who, at first, seems wholly content to keep to himself. Susy thus brings energy and optimism to the production, which might otherwise be nothing but the grousing of grumpy old men (not that that isn’t itself entertaining), but her part also acts as a melancholy reminder of the great tragedy on the horizon. Michelson breaths fresh life into that constant question in Twain Studies: What would Twain’s late phase have been like had he not lost one of his best and most trusted interlocutors? And also, what might Susy’s own legacy have been as she grew more independent of her famous father?

The dialogue of the play is rich, funny, and full of insight, pleasurable for an audience filled predominantly with professional Twain scholars, as was the case in Chicago, but totally approachable for anybody. One need not catch every allusion to be entertained. (I’m sure I didn’t.) And, aside from the considerable challenge of finding two actors who can speak fluent French, the production is ingeniously simple, making the play easily adaptable for many venues and theater companies.

In other words, it may be coming to a stage near you in the not too distant future.

Rouen Cathedral, West Facade, Sunlight, 1894

Twain Scholars Honored at Humor In America Conference

The quadrennial Humor in America conference, co-sponsored by the American Humor Studies Association and the Mark Twain Circle of America, took place earlier this month on the campus of Roosevelt University in Chicago. The Center for Mark Twain Studies was also pleased to offer an award to supplement travel costs to the conference for five graduate students and emerging scholars.

Among the three days of panels and plenaries, many of which touched on the work of Twain and his contemporaries, was the presentation of the Charlie Award (named for Charlie Chaplin) from the AHSA in recognition of lifetime achievement in scholarship and service related to American Humor Studies. Over the thirty years that AHSA has been giving the award, there have been only twelve recipients, including, notably, Elmira College professor Michael Kiskis.

This year, the AHSA recognized the careers to two new Charlie Award recipients, Bruce Michelson and Linda Morris, both of whom, in addition to there considerable work on a wide variety of Humor Studies topics, have published noteworthy books on Mark Twain.

Bruce Michelson and AHSA President, Jim Caron. Pictures Thanks to Jeffrey Melton.

Dr. Michelson is Emeritus Professor of English at the University of Illinois. His first book on Twain, Mark Twain on the Loose: A Comic Writer & the American Self (University of Massachusetts Press), published in 1995, examined Twain’s urge to liberation, a quest for freedom from the inhibitions of Victorian America and the conventions of literary genre which drove Twain’s extraordinary celebrity and literary legacy, but also makes close examination of his life and work threatening and disconcerting to many readers, past and present.

Ten years later, Dr. Michelson added Printer’s Devil: Mark Twain & The American Publishing Revolution (University of California Press, 2006), the first comprehensive analysis of how Twain’s career intersected with the explosion of print culture in the United States during his lifetime, thanks in large part to commercial and technological innovations which the author was highly attuned to because he had begun his career as a typesetter and newspaper reporter. Printer’s Devil remains the standard-bearer for considerations of Twain as an entrepreneur and professional publisher, arguably as important to his success in Gilded Age America as his considerable talents as a writer and humorist. During his promotion of Printer’s Devil, Michelson was part of the Spring 2006 Trouble Begins series. A recording of his lecture can be found in our digital archives.

Linda Morris and AHSA President, Jim Caron. Pictures thanks to Jeffrey Melton.

Dr. Morris is Professor Emerita at University of California, Davis. Last year she received the first ever Olivia Langdon Clemens Award from the Center for Mark Twain Studies, recognizing unique and groundbreaking contributions to Twain Studies. Her book, Gender Play in Mark Twain: Cross-Dressing & Transgression (University of Missouri Press, 2007), drew attention to Twain’s repeated return to tropes of gender non-conformity. Morris’s book is not only part of what was then an emerging and much-needed corpus of scholarship on Twain and gender, but also developed a lucid interpretive apparatus grounded in contemporary critical theory, demonstrating that Twain remained, as Larry Howe put it in his review, “relevant to new critical paradigms.”

Morris has also been instrumental in resuscitating the works of women writers and humorists of the 19th century, many of whom enjoyed considerable popularity and influence during their lives, but were not granted equivalent attention to their male counterparts by critics and scholars of the ensuing generations. Prominent among these is another Elmira resident, Frances Miriam Whitcher, who is the primary subject of Morris’s Women’s Humor in the Age of Gentility (Syracuse University Press, 1992).

Please join the Center for Mark Twain Studies in congratulating Dr. Michelson and Dr. Morris and thanking them for their ongoing contributions to Twain Studies scholarship.

The Calculated Incivility of Anson Burlingame, The Only Congressman Mark Twain Could Tolerate

“His outlook upon the world and its affairs was as wide as the horizon, and his speech was of a dignity and eloquence proper to it. He dealt in no commonplaces, for he had not commonplace thoughts. He was a kindly man, and most lovable. He was not a petty politician, but a great and magnanimous statesman. He did not serve his country alone, but China as well. He held the balances even. He wrought for justice and humanity. All his ways were clean; all his motives were high and fine.”

– Mark Twain (February 20, 1906)

Mark Twain was famously hard on politicians, and particularly legislators. Much of his lifelong contempt for the U.S. Congress can be traced to the months he spent in Washington in the winter of 1867-68, during which he both worked as a political correspondent and flirted with government employment. Nearing the end of that season, he told his brother, “I am most infernally tired of Washington and its ‘attractions’…This is the place to get a poor opinion of everybody in.” Twain did, however, make one exception. “There isn’t one man in Washington, in civil office,” he told Orion, “who has the brains of Anson Burlingame.” Burlingame was partly responsible for attracting Twain to Washington in the first place. Since meeting him in Honolulu in 1866, Twain had been seriously contemplating accepting Burlingame’s invitation to come to China, where he had been the U.S. Ambassador since President Lincoln appointed him in 1861. After meeting Burlingame several more times in the coming year, Twain came to admire him and showed increasing interest in the picture of diplomatic life the Ambassador painted.


But soon after Twain’s arrival in Washington, Burlingame resigned his post. Some even characterized it as a defection. Over the next two years the former Ambassador would work as an emissary on China’s behalf to negotiate its first set of diplomatic treaties with Western nations, including the United States. Twain marveled at this project, wrote in support of it, and, as late of February 1868, told his sister, “I rather expect to go with Anson Burlingame on the Chinese Embassy.” As he grew more aggravated with the culture of the capitol, Twain regarded the Republicans inability to find employment for Burlingame in a more prominent or proximate post, or even, in the long run, to employ him at all, as evidence of the futility of the federal government. He told his brother that China had “saved [Burlingame’s] great talents to the world.”


The prominent men who Twain came to admire over the course of his career resemble each other rather closely. Burlingame not only fits the mold, but may have been significantly responsible for casting it. He had a sharp wit, made even more potent by his generally calm and quiet demeanor. He managed to retain an antiestablishment ethos, even as he operated deftly within the establishment. He was generous and egalitarian, refusing to judge others by their station and willing to use his own station to benefit the less fortunate. And he had a strong, if idiosyncratic sense of justice, which he was willing to pursue regardless of personal risk.


Before he made Burlingame’s acquaintance, Twain was already somewhat in awe, refusing to let the Ambassador call upon him in his untidy Hawaiian hotel suite, which he deemed unsuitable for “such a man, which is acknowledged to have no superior in the diplomatic circles of the world.” That he held Burlingame in such high esteem is substantive evidence that, even as early as 1866, Twain’s perspectives on race and politics had turned quite progressive. Though he was not yet aware of the exceptional actions Burlingame was preparing to take on behalf of China and Chinese immigrants, Twain would have certainly known the Ambassador as one of the most outspoken and radical abolitionists of the 1850s, a founding member of the Republican Party whose extremism was criticized even by his allies. One Republican editor wrote that “Mr. Burlingame’s strain of remark” represented “the first steps in a path which leads to disunion and civil war. His editorial further warned that through radicals such as Burlingame, Republicans risked “show[ing] ourselves no better than slaveholders when we imitate their violence, their bad temper, and bad taste.”


Burlingame was, along with his fellow Bostonian, Charles Sumner, among the first abolitionists elected to Congress. During Burlingame’s first term Sumner was assaulted by South Carolina congressman Preston Brooks on the floor of the Senate, a shocking event which John Bigelow, among others, would later call “the first blood of the Civil War.” The infamous caning had been provoked by Sumner’s “Crime Against Kansas” speech. In the aftermath it was Burlingame who picked up Sumner’s argument on the floor of the House and even pushed the abolitionist cause further. Burlingame’s “Defense of Massachusetts,” like Burlingame himself, has fallen out of the canon of U.S. political history, but in 1856 and for many decades to follow, Burlingame’s speech was reprinted more often than Sumner’s. Well into the 20th century, it was frequently included in anthologies of American oratory alongside speeches by Lincoln, Washington, and Daniel Webster.


Burlingame’s “Defense” marked the first and among the only times he would address the congressional assembly, as he served only six years in the House before moving to the diplomatic ranks. He used the opportunity to repudiate President Franklin Pierce, as well as Illinois Senator, Stephen Douglas, architect of the Kansas-Nebraska Act of 1854, against which Sumner had spoken. Douglas had reportedly stood in the way of several senators who attempted to come to Sumner’s aid when Brooks attacked him. Burlingame also admonished delegates from Alabama, Georgia, Mississippi, and South Carolina. And, of course, at the end of the speech, he turned his attention to Brooks directly:

Sir, the act was brief, and my comments on it shall be brief also. I denounce it in the name of the Constitution which it violated. I denounce it in the name of Massachusetts, which was stricken down by the blow. I denounce it in the name of civilization, which it outraged. I denounce it in the name of humanity. I denounce it in the name of that fair play which bullies and prizefighters respect…Call you that chivalry? In what code of honor did you get your authority for that? I do not believe that member has a friend so dear who must not, in his heart of heart, condemn the act. Even the member himself, if he has left a spark of that chivalry and gallantry attributed to him, must loathe and score the act. God knows, I do not wish to speak unkindly or in a spirit of revenge; but I owe it to my manhood, and the noble State I in part represent, to express my deep abhorrence of the act.

Burlingame’s invocations of “chivalry,” “honor,” “manhood,” and “fair play,” spoken directly to Brooks, were quite calculated. The South Carolina congressman had enjoyed considerable celebrity with his confederates following the assault on Sumner. Southern papers heralded him as a courageous and principled defender of the culture of his region, a throwback to militant Southern icons like Andrew Jackson and John C. Calhoun. Cognizant that such publicity had the potential to raise he status in the Democratic party and perhaps make him a viable candidate for higher office, Brooks leaned into the Southern gentleman persona. Emulating the mythic Jackson, he made a habit of challenging his political antagonists to meet him on the “field of honor.” He was not alone in this affectation. Several Southern congressman took to play-acting aristocratic entitlement, willing to defend their “names” at any cost. The euphemism “fighting man” regularly appears in the newspapers of the era, as an acknowledgement of which individuals were ready to respond to slights against their character with invitations to physical violence.


Burlingame’s speech was quite transparently designed to elicit such a response. Brooks’s allies would draw particular attention to the accusation that he “stole into the Senate, that place which had hitherto been held sacred against violence, and smote [Sumner] as Cain smote his brother.” When it was uttered, a fellow Carolinian, Laurence Keitt, could not contain his outrage, and cried out, “That is false!” Burlingame paused and responded carefully, “I will not bandy epithets with that gentleman. I am responsible for my own language. Doubtless he is responsible for his. I shall stand by mine.” Newspaper editors, particularly from the South, recognized these words as an open invitation to duel. “Mr. Burlingame is a very cool and quiet man; and his manner on Saturday seemed to indicate that he had fully made up his mind to meet whatever responsibility his words should invite,” the New Orleans Picayune reported, “If challenged, there is no doubt that he will accept the responsibility, and go to the field at once.” James Gordon Bennett of the New York Herald reported, “Mr. Burlingame, I understand, is a fighting man, and engaged the services of a second before leaving home.”


Brooks took the bait. He wrote to Burlingame, with the standard false politeness of the “fighting man,” “Sir: Will you do me the kindness to indicate some place outside of this District where it will be convenient to you to negotiate in reference to the difference between us?” He shared this “card” with the Washington Union, the newspaper of record for Southern Democrats in the capitol. Brooks fully expected to make a public spectacle of Burlingame’s refusal, anticipating, as had been the case with his previous challenges to Yankee congressman, that Burlingame would either ignore the challenge or back down, after which Brooks could call him a coward, further inflating his reputation with the Southern base and living up to the nickname he’d been given by the Northern paper: “Bully” Brooks.


But Burlingame not only responded, but responded rapidly, accepting the challenge and naming both place and weapons, as was his right as the challenged party. The Massachusetts congressman set off with his rifle forthwith for Clifton House, a hotel located on the banks of the Niagara river, just across border in Canada, where they would not only be out of Washington, as Brooks had requested, but utterly free from U.S. law, were one of them to be killed.


On the day that he received the message, Brooks was, in fact, arrested under Washington’s anti-dueling statutes. This was an unintended consequence of having circulated actively publicized his challenge. By the time he was released on bail, Brooks had had time to contemplate the full implication of the “field of honor” his opponent had chosen. Following Brooks’s lead, Burlingame had also leaked his terms to the press. Rumors now flowed back to Brooks that though Burlingame represented Massachusetts, he had actually been raised in Ohio and Michigan during a time when those states were considered part of the frontier. Sharpshooting had been among his daily occupations until he enrolled in Harvard Law School. Newspapers, reveling in the Congressional feud, reported that he was a “dead shot” from up to fifty yards. Burlingame’s second, Colonel Charles James, would later report that the radical abolitionist, while en route to Niagara, had wondered allowed whether it would be sufficient to merely shoot Brooks in the leg, as if such precision at the agreed upon distance was an afterthought.


To reach the crossing at what is now the Rainbow Bridge, and make the meeting at Clifton House, which stood on a spot now occupied by the Oakes Garden Theatre, Brooks, arguably the most notorious and despised man above the Mason-Dixon line, would have to pass through abolitionist strongholds in Pennsylvania and central New York. He would have to travel nearly four hundred miles through, as he termed it, “the enemy’s country” just to have a chance to be shot in the head by an expert marksman. Again using the Union as a vehicle for communicating with the public, Brooks explained, “No man knows better than Mr. Burlingame that I could not pass without running the gauntlets of mobs and assassins, prisons and penitentiaries, bailiffs and constables. He knew that I could never get to Canada, and that were I to do so and he were to fall, that I could never get back…I have no further demands upon him; but should he be screwed up to the point of making demands upon me, I will yet treat him as a gentleman, and meet him at any convenient and accessible point upon equal terms.”


Brooks, Burlingame, and their intermediaries would continue to debate the details of who said what, and under which circumstances they might agree to shoot each other, for months. Accounts of their feud, and the perpetually delayed duel, would be covered in papers across the country. The more time passed, the more comic it became. Obviously, neither of the congressman really wanted any part of the “field of honor.” Of course, for Burlingame, representing a party and district associated with pacifism and civil disobedience, the failure of the duel to materialize was not the least bit damaging. In fact, especially when it became clear that he had been carefully baiting Brooks from the beginning, the ordeal worked to his benefit. Later in the year and again in 1858, he was re-elected by wide margins.


For Brooks, on the other hand, negotiating semantics with a Boston lawyer in the Washington political rags was not a very good way to “play to his base.” The undisputed facts were that Burlingame had named the terms, as was his right according to the apparently well-known chivalric codes of the South and West, and Brooks had declined to meet them out of fear for his well-being. For a politician whose entire appeal had been based on manifesting an antiquated notion of aristocratic honor, it was an insurmountable blow. Brooks died of the croup the following January, by which point his political career had already been buried.


Recounting the events in 1906, Twain wrote, “Potter, (that is his name, I think) the Congressional bully…had bullied everybody, insulted everybody, challenged everybody, cowed everybody, and was cock of the walk in Washington. But when he challenged the new young Congressman from the West he found a prompt and ardent man at last. Burlingame chose Bowie-knives at short range, and Potter apologized and retired from his bullyship with the laughter of the nation ringing in his ears.”


Every part of Twain’s narrative, including the historical details it gets wrong, is calculated for effect. By self-consciously misremembering Brooks’s name, he emphasizes the damage that had been done to the South Carolinian’s legacy. By conflating “Bowie-knives at short range” with “rifles at fifty paces” – the perfection of this opposition hinting that the mistake is intentional – Twain reminded those familiar with the events how little the terms actually mattered. And by alleging that Brooks actually apologized, which was far from accurate, Twain nonetheless hit upon what had become the central and lasting impression of the incident: that he had been humiliated and emasculated by his inability to live up to his own ridiculous code. When Twain wrote this account, he had every reason to believe he was narrating what would remain a familiar piece of antebellum political lore.. For his generation, the Brooks-Burlingame feud was inextricable from the Sumner assault, as integral to explaining the build-up to the Civil War as the assault itself. In a Washington Post obituary for Colonel James in 1901, W. A. Croffut referred to Burlingame’s rifle as “the first gun of the civil war.”


Thirty-One years earlier, Twain had eulogized Burlingame in the pages of the Buffalo Express. Burlingame died at the age of fifty in St. Petersburg. He was in Russia to begin negotiations with Czar Alexander II, with the hope of performing for Russia the same service he had recently performed for China. “He had outgrown the narrow citizenship of a state, and become a citizen of the world,” Twain wrote, “and his charity was large enough and his great heart warm enough to feel for all its races and labor for them.”  Twain recognized that Burlingame’s cosmopolitanism grew directly out of his antebellum activism. “His fervent abolitionism, manifested in a time when it was neither very credible nor very safe to hold such a creed” had been the initial public demonstration of Burlingame’s “noble kindliness that could not comprehend narrowness or meanness.”


It was Burlingame’s “chivalrous generosity,” Twain speculated, “that prompted him to hurl his famous Brooks-and-Sumner speech in the face of an astonished and insulted South at a time when all the North was smarting under the sneers and taunts and material ruffianisms of admired and applauded Southerners.” This notion, that “a very, very great man” could, in response to abusive behavior, not turn the other cheek, but express his willingness to meet calculated incivility with calculated incivility, thereby exposing not just the brutishness of the behavior but the cynical falsity which motivated it, was something Twain returned to often, both in his fiction and in his social commentary. Following Burlingame’s example, Twain seemed often to suggest that those who had proven themselves incapable of civility, deserved none.


The Apocryphal Twain: Tom Wolfe Memorial Edition

Mark Twain is frequently treated as a precursor to the New Journalists who rose to prominence in midcentury America, writers like Joan Didion, Norman Mailer, Hunter S. Thompson, and Tom Wolfe, who died yesterday. Like many of them, Twain began his career as a conventional reporter (insofar as there was any such convention in the 1860s) and developed a habit of inserting himself into his stories, so much so that his carefully constructed persona – cynical, self-assured, and, at times, comically inept – became as integral to his accounts as the places, persons, and events he was assigned to cover.

Wolfe, who coined the term New Journalism and is generally treated as one of the genre’s foremost innovators, began wearing white three-piece suits when he joined the New York Herald Tribune in 1962, a practice he would continue for the rest of his life. He claimed it was not an intentional homage to Twain, that they simply shared a fondness for a particular brand of southern elegance, but Wolfe clearly recognized that he was inviting comparisons with Twain, and this did not bother him.

Wolfe was hardly alone amongst the New Journalists in making frequent and loaded references to Twain’s life and work. They all shared Twain’s tendency to blur the line between journalistic liberty and outright fabulism. But Wolfe, perhaps because he spent so many years living in Twain’s aesthetic shadow, was particularly prone to inventing anecdotes about his idol.

At a lecture sponsored by the Mark Twain House & Museum in Hartford in 2003, he repeatedly refers to Twain’s “holy trinity” of “God, money, and the spirit of money, which is known as stocks.” Wolfe was perhaps merely misremembering the deeply satirical lines from Twain’s “Revised Catechism” – “Money is God. Gold and greenbacks and stock – father, son, and the ghost of the same – three persons in one: these are the true and only God, might and supreme” – which he proclaims should be spoken in honor of the prophet, Boss Tweed, and a series of Gilded Age capitalist saints, including Jim Fisk, Jay Gould, and Cornelius Vanderbilt.

Wolfe can perhaps be forgiven for treating Twain’s celebration of “the holy spirit of golden money” (something else Twain never said) as sincere, given that it supports his larger theme of admiration for Twain’s ambitiousness and his commitment to what Wolfe calls “the Aristophanic oath”: “First, entertain.” To entertain, Wolfe defines as “to make a person pass the time pleasantly with no physical effort whatsoever.” He implores the audience to look up this definition in Webster’s Dictionary. (I have consulted over a dozen editions and found no such phrase.)

Wolfe goes on to quote Twain as having said, “There is nothing that assures your spiritual standing more securely than the sanctified odor of cash.” While one can certainly imagine circumstances in which Twain might have expressed such a sentiment, the admirable phrase – “the sanctified odor of cash” – not only appears nowhere in Twain’s sizable corpus, but, so far as I can tell, has never appeared anywhere in print. It is a small tragedy that by misattributing these words to Twain, Wolfe was prevented from publishing them himself.

Wolfe returns repeatedly to the theme of Twain’s self-conscious celebrity, another obvious resonance with New Journalism. He resuscitated this anecdote for the New York Times seven years later:

England gawked. Europe gawked. The whole globe gawked, even India. It has been recorded that Twain once returned from India and said to a friend, eyes wide, mandibles agape, soul in a state of utterly sincere self-awe: “In India, they know only three things about America…Wall Street…the Statue of Liberty…and Mark Twain!”

Where this “has been recorded” eludes me. Richard Zacks recently dedicated nearly a hundred pages to Twain’s tour of India in Chasing The Last Laugh (2016). Numerous other scholars, notably Seema Sharma and Keshav Mutalik, have written at length on the subject without unearthing this charming and, in Zacks case, highly relevant anecdote. What Zacks says, to the contrary, is that “India didn’t discover Twain; Twain discovered India.” The author performed to several sold-out crowds of primarily British colonists and sold a small stock of books on the back of his tour, but was moderately disappointed to find that “the various Indian-language papers would largely ignore him” and “almost no one would recognize him in the streets.”

The largely invented account Wolfe forwarded of his idol is revealing. Wolfe is so seduced by Twain’s place as “the most famous American writer of all time,” he is induced to further exaggerate that fame. What Wolfe likes most about Twain is his sales. In his 2003 talk, Wolfe compliments Twain on Huckleberry Finn, not for its pathbreaking novelistic techniques or its progressive politics, but because the author recognizes, decades before marketing teams would, that sequels sell!

In essays like “Stalking The Billion-Footed Beast” (1989) and “The Three Stooges” (2000), Wolfe decried what he perceived as an abandonment of populist realism by his most critically-acclaimed contemporaries, including John Irving, Philip Roth, and John Updike. In the latter essay, he expressly mocked the poor sales of these literati.

Wolfe’s appropriation of the white suit – representative of Twain’s precocious talent for personal branding – reveals the nature of Wolfe’s appreciation for Twain. He is not envious of Twain’s incisive social commentary, his innovative wit, or his proto-metafictionist techniques, though Wolfe does emulate these traits, but rather, in awe that “Twain had actually lived, in the flesh, as that heroic figure every American writer…dreams of being: Big Spender from the East.”

The renowned excoriations of the opulence and ostentation in Bonfire of the Vanities (1987) apparently do not apply equally to Twain (or Wolfe). In every commentary he makes about Twain, he refers to the author’s gaudy Hartford home, “a Victorian palace whose many turrets were over the top, even for the Gilded Age.” Wolfe, who struggles to accurately recount the plot of Twain’s most-famous and influential novel, has perfect recall for numerous details about the woodworking, the furnishings, and the servants in the Clemens massive mansion. He gleefully imagines what it would be like to have “this heavenly vision of worldly success be the first thing he saw every day when he awoke.”

One is reminded of a line from The American Claimant (1892):

“I’m opposed to millionaires, but it would be dangerous to offer me the position…I would leave the funeral of my dearest enemy to go and assume its burdens and responsibilities.”