Autobiography of Mark Twain: The Complete and Authoritative Edition, Volume 1 Read online

  FIGURE 2. Manuscript page 1, Clemens’s title page.

  FIGURE 3. Manuscript page 2, the “Early Attempt” preface introducing the “44 old type-written pages.”

  FIGURE 4. Manuscript page 3, the instruction to insert what has now been identified as “My Autobiography [Random Extracts from It].”

  FIGURE 5. Manuscript page 45, the first page of “The Latest Attempt” preface, numbered to continue the sequence after the inserted forty-four-page typescript. (The page number 9, and the numbers 10–17 on the following pages, were all added by Paine in pencil and were not part of Clemens’s plan.)

  FIGURE 6. Manuscript page 46, the second page of “The Latest Attempt” preface.

  FIGURE 7. Manuscript page 47, “THE FINAL (& RIGHT) PLAN,” originally placed immediately before the page inscribed with “Here begin the Florentine Dictations” (shown in figure 13).

  FIGURE 8. The typed epigraph. In an earlier version, Clemens had deleted the title “A Text For All Biographies,” and added, “I will construct a text”; here he inserted “to precede the Autobiography; also a Preface, to follow said Text” and “(which are but the mute articulation of his feelings.)” He placed the page after “THE FINAL (& RIGHT) PLAN,” where it was transcribed in TS4. Clemens wrote “All usable” and “SMALL TYPE to save space” in the margin. The circled “I” in the top margin may have been written by either Clemens or Paine. The other writing on the page is Paine’s.

  FIGURE 9. Manuscript page 48, “PREFACE. As from the Grave.” This page and the three that follow were first numbered 1–4. When Clemens inserted them into the sequence after page 47, he renumbered them 48–51. He moved the page originally numbered 48, containing “Here begin the Florentine Dictations,” to the end and renumbered it 52 (figure 13).

  FIGURE 10. Manuscript page 49, the second page of “As from the Grave,” first numbered 2 and later changed to 49. Clemens initially ended the preface at the bottom of this page, then canceled his signature and added two more sections.

  FIGURE 11. Manuscript page 50, section II of “As from the Grave,” which Clemens first numbered 3 and later changed to 50.

  FIGURE 12. Manuscript page 51, section III of “As from the Grave,” which Clemens first numbered 4 and later changed to 51.

  FIGURE 13. Manuscript page 52, “Here begin the Florentine Dictations,” which Clemens first numbered 48 and later changed to 52 when he inserted the four-page “PREFACE. As from the Grave.”

  We now understand why there are often two, three, or even four nearly identical typescripts for the January through August 1906 Autobiographical Dictations. The resolution of this first part of the textual mystery shows, among other things, that TS1 is the primary source for the text of those dictations, and that when parts of TS1 are lost, the missing text can be reliably restored from either TS2 or TS4, because they were created by copying TS 1 before the losses occurred. Our understanding of the typescripts also helps to explain the multiple inscriptions on so many of their pages: they are the traces left behind by the editors and typists who collaborated with Clemens in 1906–9, and by the editors who published parts of the autobiography after his death, from Paine to DeVoto. The four typescript pages reproduced in facsimile in figures 14–17 illustrate some of the many hands that had to be identified and, above all, distinguished from Clemens’s own hand.

  The North American Review (August and September 1906)

  To recapitulate: by 21 June Clemens had read through and corrected all of TS1 that Hobby had so far typed (over nine hundred pages, probably through the dictation for 20 June 1906).87 He had reviewed his earlier manuscripts and selected at least those he wanted to begin with (he would later select several more, inserting them in later dictations). And he had written the title page and the several prefaces to frame those early pieces and introduce the 1906 dictations. Hobby began to create TS2, and an unidentified typist started TS4, probably as soon as Hobby made the revised TS1 available.

  With all that in train, Clemens left Dublin on 26 June to be away for a month, in Boston and New York City, occasionally visiting Henry Rogers at his home in Fairhaven, Massachusetts, and joining him on his yacht, the Kanawha. Following Rogers’s advice, he met several times with the Harper executives and lawyers in order to resolve their mutual disagreements about the recent republication of Mark Twain’s Library of Humor. While in New York he also met with S. S. McClure and left with him some pages from the dictations about Susy—probably those of 2–7 February. McClure wrote Clemens about them on 2 July:

  This is not a business letter it is a love-letter. I read the wonderful chapters of your autobiography all are wonderful, but the chapters about the dear dear child are the finest I have ever read in literature

  I wept & loved & suffered & enjoyed

  FIGURE 14. The first page of the Autobiographical Dictation of 11 January 1906 (TS2, 178). Clemens wrote in ink at the top of the page and in the left margin, and crossed out the entire page. The “$3-Dog” (which he suggested as part “II” of a Review installment) is from AD, 3 Oct 1907. David Munro, a Review editor, wrote the title, the author’s name, and an instruction to include the “Prefatory note as usual.” “1877” is in an unidentified hand. The excerpt was published in December 1907 (NAR 25), typeset directly from this page.

  FIGURE 15. The first page of the Autobiographical Dictation of 12 January 1906 (TS2, 199). Clemens noted in ink in the left margin: “None of this is printable while I am alive. It is too personal. . . . Leave it till I am dead, then print all of it some day. SLC.” In pencil in the right margin, he wrote, “USE ONLY THE DREAM.” Stenographer Josephine Hobby wrote “Auto. Part” in the center and Harvey, editor of the Review, wrote inclusive page numbers “199 to 242” at the top right. Paine, who in early 1907 helped Clemens prepare a section for publication in the Review, wrote in the top left corner, and later added (in blue pencil), “Copied for use”—referring to another typescript, TS3, prepared from this one to serve as printer’s copy for the excerpt, which was published in the Review for 19 April 1907 (NAR 16).

  FIGURE 16. The first page of the Autobiographical Dictation of 7 March 1906 (TS1, 419). Clemens wrote “Follow Susy’s spelling & punctuation always. SLC” at the top left; inserted the head “From Susy’s Biography” (twice); and noted that the extracts were to be set “solid” (i.e., with reduced line spacing). Another typescript, TS3, was prepared from this one to serve as printer’s copy for an excerpt published in the Review for 16 November 1906 (NAR 6). The rest of the writing is by Paine, who used this typescript to prepare his 1924 edition (MTA, 2:166–72), from which he omitted all of page 420 and most of page 421. He cut a strip from the bottom of page 421 and pasted it to this page (covering part of the text), crossed out the second heading for Susy’s biography, and altered Clemens’s “solid” to “smaller.”

  FIGURE 17. The fourth page of the Autobiographical Dictation of 29 August 1906 (TS1, 1092). All of the revisions are in pencil, but only some of them are Clemens’s: DeVoto added his own before he published the dictation in Mark Twain in Eruption (243). They can all be correctly identified by examining the text of TS4, which followed only Clemens’s markings, and DeVoto’s book, which followed all of them. Clemens made no changes in the punctuation; he wrote “tell” and “imagined,” and underlined “I,” “himself,” and “she” to italicize them.

  These chapters should be issued soon in a little book. It would be a classic for a thousand years, & it could later be published in the large book. I am off to Chicago tomorrow & back on the 9th I wish I could print this wonderful thing in McClure’s Magazine. It would civilize a nation. It will uplift the Sunday press.

  Finally, with Harvey’s return from England in mid-July, the troublesome Library of Humor problem was resolved and Clemens was able to return to Dublin on 25 July.88

  Clemens had already published several essays in Harvey’s North American Review: “To the Person Sitting in Darkness” and “To My Missionary Critics” (1901) as well as his satiric
al commentary on Christian Science (1902–3). His first impulse had been to sell Harvey selections from the autobiography to go into Harper’s Weekly (which Harvey also edited), a much more widely read journal than the Review. But when Harvey finally made the twice-postponed visit to Dublin, arriving late on 31 July, he had big plans for the Review.89 He promptly immersed himself in the autobiography, and by the time he left Dublin on 4 August he and Clemens had agreed on what would become a sixteen-month series in the Review. “I like this arrangement,” Clemens confided to his friend Mary Rogers (Henry’s daughter-in-law), even as Harvey departed, “& so will Mr. Rogers; but he didn’t much like the idea of McClure’s newspaper syndicate, & I ceased to like it myself & stopped the negociations before I left New York.”90 As Clemens wrote to Clara on 3 August, he was impressed by Harvey’s “great plan: to turn the North American Review into a fortnightly the 1st of Sept, introduce into it a purely literary section, of high class, & in other ways make a great & valuable periodical of it.” He was also clearly flattered by Harvey’s response to his text:

  He was always icily indifferent to the Autobiography before, but thought he would like to look at it now, so I told him to come up. He arrived 3 days ago, & has now carefully read close upon a hundred thousand words of it (there are 250,000). He says it is the “greatest book of the age,” & has in it “the finest literature.”

  He has done some wonderful editing; for he has selected 5 instalments of 5,000 words each; & although these are culled from here & there & yonder, he has made each seem to have been written by itself—& without altering a word. At 10,000 words a month we shall place about 110,000 or 120,000 words before the public in 12 months. . . .

  To-morrow Harvey will carry away one full set of the MSS to Howells & get him to help select instalments. I can’t do the selecting myself. The instalments will come to me in galley-proofs for approval, but I guess I will pass them on to you for final judgment after I have examined them.91

  Not only did Harvey “carefully read close upon a hundred thousand words” of the autobiography’s 250,000, but by the time he left Dublin on 4 August he had read the remaining 150,000 words, encompassing the pre-1906 material and all the dictations through the end of June.92

  A Composite Typescript: TS3

  Harvey’s “wonderful editing” was exactly as Clemens characterized it: he selected excerpts and patched them together to create five installments, essentially without “altering a word.” Domestic anecdotes were a principal theme. He used the moving description of Olivia, and of Susy and her death, with nearly all the excerpts from Susy’s biography of her father that were quoted in the February and March dictations. Other favored topics included Clemens’s amusing misdeeds, such as his swearing about the missing shirt buttons; Susy’s charming eccentricities of spelling; Clemens’s puzzlement over the “spoon-shaped drive”; and the challenges of the burglar alarm at the Hartford house. Harvey also included the recollections of Hannibal, such as the story of “playing bear” from “Scraps from My Autobiography. From Chapter IX” (which Clemens had omitted from his plan for the Autobiography), the dreadful anticholera “Pain-Killer,” and Orion’s 3:00 A.M. call on a young lady. Harvey did not share Howells’s squeamishness about Orion climbing (by mistake) into bed with the “middle-aged maiden sisters” (as they were called in the North American Review text): he included that episode without apparent concern. He rejected material with less broad appeal, such as the death of Patrick McAleer (the Clemenses’ beloved coachman), and omitted Clemens’s excursions into political commentary—the massacre of the “rebellious” Moro people in the Philippines and the treatment of Mrs. Morris, who had been thrown out of the White House. Harvey’s penciled notations on the typescripts, such as “Begin,” “End,” and “Continue,” show that Clemens’s own participation in the selection process was probably much smaller than has previously been supposed.93

  Since Harvey drew each Review installment from several different daily dictations, Hobby was now charged with creating yet another typescript to serve as printer’s copy, working “under high pressure” to get it ready in time for the first chapter of the series, in the issue slated for 1 September. This composite typescript, called TS3, was typed from the start with a carbon copy, and was paginated independently of the three other ongoing sequences.94 Hobby managed to complete two batches of TS3, of some two dozen pages each, in time for Clemens to revise them lightly and give them to Harvey when he left Dublin on 4 August. She immediately set to work typing a third large batch of TS3 (sixty-three pages), which Clemens agreed to send off “as soon as finished.” These three batches of TS3 were intended for installments 1–5 in the Review. Because TS2 had at that time been completed only through 12 February, Harvey also asked that the “copy of complete dictation beginning with Feb. 13 as it proceeds” be forwarded to him.95

  Clemens soon revised and returned the proof for the first installment, first to Clara for her approval, and then to the Review editors. But no sooner had he done so than a new decision was made: an excerpt from the first half of “My Autobiography [Random Extracts from It],” the text that he had just recently chosen to begin the Autobiography, would now lead off the series. It has not been discovered who made this late change, or why, but by the end of August Clemens had read galley proofs for this “Virginia-Clemens” installment, as he called it in a letter to Mary Rogers.96

  The first issue of “Chapters from My Autobiography” appeared on 7 September, accompanied by a statement that would be repeated before each installment:

  PREFATORY NOTE.—Mr. Clemens began to write his autobiography many years ago, and he continues to add to it day by day. It was his original intention to permit no publication of his memoirs until after his death; but, after leaving “Pier No. 70,” he concluded that a considerable portion might now suitably be given to the public. It is that portion, garnered from the quarter-million of words already written, which will appear in this REVIEW during the coming year. No part of the autobiography will be published in book form during the lifetime of the author.—EDITOR N.A.R.

  In the “Editor’s Diary” section of the same issue Harvey “let go all holts,” as Clemens might say, in an announcement of the upcoming series:

  The proverbial irony of fate was never more clearly marked than by the fact that the life of the world’s greatest humorist has consisted of a succession of personal tragedies. . . . But in his breast there lived a spirit which rose triumphant over all depressing emotions, and still continues, after half a century, to make joy for more millions of human beings the world over than any other now existing. An attempt, even by one accomplished in the art, to analyze the character of this unique human genius would be futile. Its phases are too multifarious. There is humor pre-eminent, wit unexcelled, philosophy rare, if uneven; repugnance, often violent, to wrong in any form; instinctive and invariable, though occasionally ill-timed, revolt against oppression of humanity whether by God or man; all supplemented by the reasonableness of a comrade, the kindliness of a friend, the devotion of a lover and the sweetness of a child. . . . It is a wonderful autobiography that he is writing,—wonderful, because of the variety of experiences it depicts, wonderful because of its truth, its sincerity, its frankness, its unhesitating and unrestricted human feeling. . . . We have read perhaps a quarter of the million of words which will finally be written, and are convinced that a life story of such surpassing interest was never told before.97

  Reading the above in proof, Clemens facetiously professed himself “troubled” and suggested to Mary Rogers that she write a letter of protest to Harvey, even providing her with a text. She was to say that Harvey’s “prodigal, even extravagant” praises “sounded cold & indifferent” to him. “He is almost morbidly fond of compliments, & he realizes that these are good ones, but thinks they are over-cautious & thin. When we of the family butter him we do not do it with a knife, we use a trowel.”98

  Harvey’s first round of selections, the second through sixth installme
nts, appeared in the Review between 21 September and 16 November. According to Clemens, during his August visit he had actually earmarked a total of twenty-four selections—“a year’s lot”—drawing on the dictations of January, March, and April 1906, “John Hay,” and the second part of the “Random Extracts” sketch for installments 7–8 and 10–13, published through 1 March 1907.99 Later material, from the dictations of October 1906 through February 1907, began to appear in installments 14 and 15, published on 15 March and 5 April 1907. Hobby made only one additional batch of TS3, for installment 16, published 19 April 1907. Apart from the dictation of 21 May 1906 (“My experiences as an author . . . ”), which had been used in installment 2, no material from the dictations of May through August 1906 was published in the Review.100 In those months Clemens dictated some rather stringent comments about religion, business, and various of his associates—comments he had no intention of publishing during his lifetime. Besides, there were soon so many excerpts stockpiled that the making of further selections could be safely postponed.