The Bohemians: How Mark Twain Became Mark Twain By Going To California

The Daily Beast offers a piece on Ben Tarnoff's The Bohemians: Mark Twain and the San Francisco Writers who Reinvented Literature.

“All modern American literature comes from one book by Mark Twain called Huckleberry Finn,” Ernest Hemingway wrote in 1935, and that book’s continuing ability to discomfit and enrage testifies to the power of Twain’s prose. He captured in print the blunt rhythms and salty wit of American colloquial speech, creating a distinctive national literary language that shaped the work of every writer who followed him. But he wasn’t alone in his quest to liberate American culture from sanctimony and sentimentality—a vibrant San Francisco publishing community played an instrumental role in helping Twain find his voice during a few seminal years in the 1860s, decades before Huckleberry Finn was published.

This community is the focus of The Bohemians, Ben Tarnoff’s lively chronicle, which links Twain to three lesser-known writers in a fellowship of self-styled “Bohemians” who, in Tarnoff’s words, “would bring a fresh spirit to American writing, drawn from the new world being formed in the Far West.” 

You can read the rest of the piece via the below link:

http://www.thedailybeast.com/articles/2014/03/20/how-mark-twain-became-mark-twain-by-going-to-california.html

Mark Twain's Eternal Chatter

Ben Tarnoff at The New Yorker looks at the Autobiography of Mark Twain, Volume 2.

When Mark Twain opened his mouth, strange things came tumbling out. Things like hoaxes, jokes, yarns, obscenities, and non sequiturs. He had a drawl—his “slow talk,” his mother called it—that made his sentences long and sinuous. One reporter described it as a “little buzz-saw slowly grinding inside a corpse.” Others thought that he sounded drunk.

He loved to talk: to friends, to reporters, to the crowds of adoring fans who filled lecture halls to hear him. He gave famous after-dinner toasts and tossed off witty one-liners that made great copy for the next day’s papers. He could talk all night, preferably with a plentiful supply of cigars and Scotch on hand. He was always bursting with opinions on topics large and small and humming with ideas for new books and new business ventures. He often had trouble sleeping, and drank to numb his nerves. But he never had trouble talking.

He kept talking until the end. In the last years of his life, when he began writing his autobiography, Twain decided to do it mostly by dictation. He sat in bed, with his head propped up on pillows, and riffed and reminisced for hours at a time, while his stenographer took down everything in shorthand. When he was done, he had more than five thousand pages of typescript.

The result is the “Autobiography of Mark Twain,” a monster that has haunted Twain scholars for a hundred years. Its forbidding size and freewheeling structure have puzzled and infuriated generations of researchers who have descended into the archives, hoping to find a finished memoir and instead discovering ten file feet of musings, interspersed with letters and newspaper clippings. Twain insisted that his sprawling memoir not be published until a century after his death, in 1910, so that he could speak freely about everyone and everything. But he couldn’t resist publishing excerpts in the North American Review before he died. And, in the decades since, more has trickled out as editors have waded through Twain’s papers to uncover pieces that they considered worth publishing.

You can read the rest of the piece via the below link:

http://www.newyorker.com/online/blogs/books/2013/11/the-eternal-chatter-of-the-autobiography-of-mark-twain-volume-2.html?utm_source=tny&utm_medium=email&utm_campaign=dailyemail&mbid=nl_Daily%20(60)