Mark Twain's Letters Part 35

The baby is fat and strong, and Susie the same. Susie was charmed with the donkey and the doll.

Ys affectionately SAML.

P. S.--DEAR MA AND PAMELA--I am mainly grieved because I have been rude to a man who has been kind to you--and if you ever feel a desire to apologize to him for me, you may be sure that I will endorse the apology, no matter how strong it may be. I went to his bank to apologize to him, but my conviction was strong that he was not man enough to know how to take an apology and so I did not make it.

William Dean Howells was in those days writing those vividly realistic, indeed photographic stories which fixed his place among American men of letters. He had already written 'Their Wedding Journey' and 'A Chance Acquaintance' when 'A Foregone Conclusion'

appeared. For the reason that his own work was so different, and perhaps because of his fondness for the author, Clemens always greatly admired the books of Howells. Howells's exact observation and his gift for human detail seemed marvelous to Mark Twain, who with a bigger brush was inclined to record the larger rather than the minute aspects of life. The sincerity of his appreciation of Howells, however, need not be questioned, nor, for that matter, his detestation of Scott.

To W. D. Howells, in Boston:

ELMIRA, Aug. 22, 1874.

DEAR HOWELLS,--I have just finished reading the 'Foregone Conclusion' to Mrs. Clemens and we think you have even outdone yourself. I should think that this must be the daintiest, truest, most admirable workmanship that was ever put on a story. The creatures of G.o.d do not act out their natures more unerringly than yours do. If your genuine stories can die, I wonder by what right old Walter Scott's artificialities shall continue to live.

I brought Mrs. Clemens back from her trip in a dreadfully broken-down condition--so by the doctor's orders we unpacked the trunks sorrowfully to lie idle here another month instead of going at once to Hartford and proceeding to furnish the new house which is now finished. We hate to have it go longer desolate and tenantless, but cannot help it.

By and by, if the madam gets strong again, we are hoping to have the Grays there, and you and the Aldrich households, and Osgood, down to engage in an orgy with them.

Ys Ever MARK

Howells was editor of the Atlantic by this time, and had been urging Clemens to write something suitable for that magazine. He had done nothing, however, until this summer at Quarry Farm. There, one night in the moonlight, Mrs. Crane's colored cook, who had been a slave, was induced to tell him her story. It was exactly the story to appeal to Mark Twain, and the kind of thing he could write. He set it down next morning, as nearly in her own words and manner as possible, without departing too far from literary requirements.

He decided to send this to Howells. He did not regard it very highly, but he would take the chance. An earlier offering to the magazine had been returned. He sent the "True Story," with a brief note:

To W. D. Howells, in Boston:

ELMIRA, Sept. 2, '74.

MY DEAR HOWELLS,--.....I enclose also a "True Story" which has no humor in it. You can pay as lightly as you choose for that, if you want it, for it is rather out of my line. I have not altered the old colored woman's story except to begin at the beginning, instead of the middle, as she did--and traveled both ways....

Yrs Ever MARK.

But Howells was delighted with it. He referred to its "realest kind of black talk," and in another place added, "This little story delights me more and more. I wish you had about forty of them."

Along with the "True Story" Mark Twain had sent the "Fable for Good Old Boys and Girls"; but this Howells returned, not, as he said, because he didn't like it, but because the Atlantic on matters of religion was just in that "Good Lord, Good Devil condition when a little fable like yours wouldn't leave it a single Presbyterian, Baptist, Unitarian, Episcopalian, Methodist, or Millerite paying subscriber, while all the deadheads would stick to it and abuse it in the denominational newspapers!"

But the shorter MS. had been only a brief diversion. Mark Twain was bowling along at a book and a play. The book was Tom Sawyer, as already mentioned, and the play a dramatization from The Gilded Age.

Clemens had all along intended to dramatize the story of Colonel Sellers, and was one day thunderstruck to receive word from California that a San Francisco dramatist had appropriated his character in a play written for John T. Raymond. Clemens had taken out dramatic copyright on the book, and immediately stopped the performance by telegraph. A correspondence between the author and the dramatist followed, leading to a friendly arrangement by which the latter agreed to dispose of his version to Mark Twain. A good deal of discussion from time to time having arisen over the authorship of the Sellers play, as presented by Raymond, certain among the letters that follow may be found of special interest.

Meanwhile we find Clemens writing to Dr. John Brown, of Edinburgh, on these matters and events in general. The book MS., which he mentions as having put aside, was not touched again for nearly a year.

To Dr. John Brown, in Edinburgh:

QUARRY FARM, NEAR ELMIRA, N. Y.

Sept. 4, 1874.

DEAR FRIEND,--I have been writing fifty pages of ma.n.u.script a day, on an average, for sometime now, on a book (a story) and consequently have been so wrapped up in it and so dead to anything else, that I have fallen mighty short in letter-writing. But night before last I discovered that that day's chapter was a failure, in conception, moral truth to nature, and execution--enough blemish to impair the excellence of almost any chapter--and so I must burn up the day's work and do it all over again. It was plain that I had worked myself out, pumped myself dry. So I knocked off, and went to playing billiards for a change. I haven't had an idea or a fancy for two days, now--an excellent time to write to friends who have plenty of ideas and fancies of their own, and so will prefer the offerings of the heart before those of the head. Day after to-morrow I go to a neighboring city to see a five-act-drama of mine brought out, and suggest amendments in it, and would about as soon spend a night in the Spanish Inquisition as sit there and be tortured with all the adverse criticisms I can contrive to imagine the audience is indulging in. But whether the play be successful or not, I hope I shall never feel obliged to see it performed a second time. My interest in my work dies a sudden and violent death when the work is done.

I have invented and patented a pretty good sort of sc.r.a.p-book (I think) but I have backed down from letting it be known as mine just at present--for I can't stand being under discussion on a play and a sc.r.a.p-book at the same time!

I shall be away two days, and then return to take our tribe to New York, where we shall remain five days buying furniture for the new house, and then go to Hartford and settle solidly down for the winter. After all that fallow time I ought to be able to go to work again on the book. We shall reach Hartford about the middle of September, I judge.

We have spent the past four months up here on top of a breezy hill, six hundred feet high, some few miles from Elmira, N. Y., and overlooking that town; (Elmira is my wife's birthplace and that of Susie and the new baby). This little summer house on the hill-top (named Quarry Farm because there's a quarry on it,) belongs to my wife's sister, Mrs.

Crane.

A photographer came up the other day and wanted to make some views, and I shall send you the result per this mail.

My study is a snug little octagonal den, with a coal-grate, 6 big windows, one little one, and a wide doorway (the latter opening upon the distant town.) On hot days I spread the study wide open, anchor my papers down with brickbats and write in the midst of the hurricanes, clothed in the same thin linen we make shirts of. The study is nearly on the peak of the hill; it is right in front of the little perpendicular wall of rock left where they used to quarry stones. On the peak of the hill is an old arbor roofed with bark and covered with the vine you call the "American Creeper"--its green is almost bloodied with red. The Study is 30 yards below the old arbor and 200 yards above the dwelling-house-it is remote from all noises.....

Now isn't the whole thing pleasantly situated?

In the picture of me in the study you glimpse (through the left-hand window) the little rock bluff that rises behind the pond, and the bases of the little trees on top of it. The small square window is over the fireplace; the chimney divides to make room for it. Without the stereoscope it looks like a framed picture. All the study windows have Venetian blinds; they long ago went out of fashion in America but they have not been replaced with anything half as good yet.

The study is built on top of a tumbled rock-heap that has morning-glories climbing about it and a stone stairway leading down through and dividing it.

There now--if you have not time to read all this, turn it over to "Jock"

and drag in the judge to help.

Mrs. Clemens must put in a late picture of Susie--a picture which she maintains is good, but which I think is slander on the child.

We revisit the Rutland Street home many a time in fancy, for we hold every individual in it in happy and grateful memory.

Goodbye, Your friend, SAML. L. CLEMENS.

P. S.--I gave the P.O. Department a blast in the papers about sending misdirected letters of mine back to the writers for reshipment, and got a blast in return, through a New York daily, from the New York postmaster. But I notice that misdirected letters find me, now, without any unnecessary fooling around.

The new house in Hartford was now ready to be occupied, and in a letter to Howells, written a little more than a fortnight after the foregoing, we find them located in "part" of it. But what seems more interesting is that paragraph of the letter which speaks of close friendly relations still existing with the Warners, in that it refutes a report current at this time that there was a break between Clemens and Warner over the rights in the Sellers play. There was, in fact, no such rupture. Warner, realizing that he had no hand in the character of Sellers, and no share in the work of dramatization, generously yielded all claim to any part of the returns.