The first book-length treatment of Mark Twain’s public persona as depicted in newspaper and magazine illustrations Cartoons and Caricatures of Mark Twain: Reformer and Social Critic, 1869–1910 reproduces for students and scholars of Twain and American literature a provocative series of visual texts that illustrate the growth of Twain’s reputation as a social and political satirist. Myrick and Scharnhorst trace the evolution of Twain’s depiction across more than forty years and seventy illustrations—from portrayals of the famous author as a court jester adorned with cap and bells, to a regally haloed king with a royal train—offering a new perspective on his influence. Although he was among the most photographed figures of the nineteenth century, Myrick and Scharnhorst focus on a medium that Twain, a genius of self-promotion and an expert at brand management, could not control. As a result, Myrick and Scharnhorst have compiled an innovative and incisive type of reception history. This initial volume of Cartoons and Caricatures of Mark Twain emphasizes Twain’s reputation as a political satirist. It illustrates the popular response to many famous and infamous episodes in his career, such as the storm of controversy that surrounded the publication of his anti-imperialist writings at the turn of the twentieth century. Routinely depicted with hair like a fright wig, a beak-like nose, and a cigar in hand, no matter the context or the costume, Twain was not only the greatest writer in American literary history but perhaps the most iconic figure in American popular culture.

The surprising final chapter of a great American life. When the first volume of Mark Twain's uncensored Autobiography was published in 2010, it was hailed as an essential addition to the shelf of his works and a crucial document for our understanding of the great humorist's life and times. This third and final volume crowns and completes his life's work. Like its companion volumes, it chronicles Twain's inner and outer life through a series of daily dictations that go wherever his fancy leads. Created from March 1907 to December 1909, these dictations present Mark Twain at the end of his life: receiving an honorary degree from Oxford University; railing against Theodore Roosevelt, founding numerous clubs; incredulous at an exhibition of the Holy Grail; credulous about the authorship of Shakespeare's plays; relaxing in Bermuda; observing (and investing in) new technologies. The Autobiography's "Closing Words" movingly commemorate his daughter Jean, who died on Christmas Eve 1909. Also included in this volume is the previously unpublished "Ashcroft-Lyon Manuscript," Mark Twain's caustic indictment of his "putrescent pair" of secretaries and the havoc that erupted in his house during their residency. Fitfully published in fragments at intervals throughout the twentieth century, Autobiography of Mark Twain has now been critically reconstructed and made available as it was intended to be read. Fully annotated by the editors of the Mark Twain Project, the complete Autobiography emerges as a landmark publication in American literature. Editors: Benjamin Griffin and Harriet Elinor Smith Associate Editors: Victor Fischer, Michael B Frank, Amanda Gagel, Sharon K Goetz, Leslie Diane Myrick, Christopher M Ohge.

Mark Twain's complete, uncensored Autobiography was an instant bestseller when the first volume was published in 2010, on the centennial of the author's death, as he requested. Published to rave reviews, the Autobiography was hailed as the capstone of Twain's career. It captures his authentic and unsuppressed voice, speaking clearly from the grave and brimming with humor, ideas, and opinions. The eagerly-awaited Volume 2 delves deeper into Mark Twain's life, uncovering the many roles he played in his private and public worlds. Filled with his characteristic blend of humor and ire, the narrative ranges effortlessly across the contemporary scene. He shares his views on writing and speaking, his preoccupation with money, and his contempt for the politics and politicians of his day. Affectionate and scathing by turns, his intractable curiosity and candor are everywhere on view. Editors: Benjamin Griffin and Harriet E. Smith Associate Editors: Victor Fischer, Michael B. Frank, Sharon K. Goetz and Leslie Diane Myrick

Over the final twenty years of his life, Mark Twain was an incredibly controversial figure. He evolved from the "clown prince of American literature" into a biting social critic and political observer. While some pundits hailed him as a satirist equal to Cervantes and Jonathan Swift, others excoriated him as a "degenerate literary freak" who wielded a "scurrilous and venomous pen." This volume traces the evolution of Mark Twain's public image between 1891 and his death in 1910. It features hundreds of reviews and other critical notices printed in magazines and newspapers across the U.S. and other English-speaking countries. This selected sample represents the full range of critical opinion, whether favorable or hostile, about Mark Twain's late writings. Sources reflect geographical differences in Twain's contemporary reputation, such as the conflicted responses in the British colonies towards Mark Twain's anti-imperialism and the pious disapproval in the American heartland for his attacks on foreign missions.

The first book-length treatment of Mark Twain’s public persona as depicted in newspaper and magazine illustrations Cartoons and Caricatures of Mark Twain: Reformer and Social Critic, 1869–1910 reproduces for students and scholars of Twain and American literature a provocative series of visual texts that illustrate the growth of Twain’s reputation as a social and political satirist. Myrick and Scharnhorst trace the evolution of Twain’s depiction across more than forty years and seventy illustrations—from portrayals of the famous author as a court jester adorned with cap and bells, to a regally haloed king with a royal train—offering a new perspective on his influence. Although he was among the most photographed figures of the nineteenth century, Myrick and Scharnhorst focus on a medium that Twain, a genius of self-promotion and an expert at brand management, could not control. As a result, Myrick and Scharnhorst have compiled an innovative and incisive type of reception history. This initial volume of Cartoons and Caricatures of Mark Twain emphasizes Twain’s reputation as a political satirist. It illustrates the popular response to many famous and infamous episodes in his career, such as the storm of controversy that surrounded the publication of his anti-imperialist writings at the turn of the twentieth century. Routinely depicted with hair like a fright wig, a beak-like nose, and a cigar in hand, no matter the context or the costume, Twain was not only the greatest writer in American literary history but perhaps the most iconic figure in American popular culture.