Mark Twain's Adventures of Huckleberry Finn

Mark Twain's Adventures of Huckleberry Finn
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In a radical departure from standard editions, Mark Twain’s most famous novel is published here with one disturbing racial label translated as “slave.” In seeking to record accurately the speech of uneducated boys and adults along the Mississippi River in the 1840s, Twain casually included an epithet that is diminishing the potential audience for his masterpiece. While dozens of other editions preserve the inflammatory slur that the author employed for the sake of realism, the NewSouth Edition proves that the main point of Twain’s masterpiece—the immense harm deriving from inhumane social conformity—comes through just as vibrantly without obliging readers to confront hundreds of insulting racial pejoratives. The editor’s Introduction supplies the historical and literary context for Twain’s groundbreaking book, along with a helpful guide to his satirical targets.

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Alan Gribben. Mark Twain's Adventures of Huckleberry Finn

Contents

Editor’s Introduction: The NewSouth Edition of Adventures of Huckleberry Finn

Selected Relevant Print and Digital Works

Twain’s Chapter Headings

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

Chapter 41

Chapter 42

Chapter the Last

Afterword

About the Editor

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Mark Twain’s

Adventures of Huckleberry Finn

.....

In a semi fictional work, Green Hills of Africa (1935), Ernest Hemingway’s narrator made an astute and widely quoted pronouncement about Huckleberry Finn. The key element in this opinion was the word “modern”: “All modern American literature,” Hemingway’s character declared, “comes from one book by Mark Twain called Huckleberry Finn. . . . All American writing comes from that. There was nothing before” (italics added). Hemingway had noticed a momentous difference between Twain’s novel and its literary precursors. In “modern” literature, as opposed to much British and American fiction of the nineteenth century, the reader is no longer coached regarding what to think of the characters and their actions. This prior type of moral guidance had typically been threaded obliquely throughout the paragraphs of a novel, or else summarized overtly at the end of a chapter or a short story.

In contrast to this previous view of the author’s role as both narrator and interpreter, Twain devised a narrator so young and inexperienced that he often cannot quite figure out what he is describing. That is the case, for instance, in Chapter 22 when Huck sneaks into a circus and relates how an intoxicated man staggers out of the audience and demands a chance to ride one of the performers’ horses. The crowd hoots and jeers at the drunk’s interruption of the show, until the ring-master reluctantly gives in and allows the man to mount one of the animals. At first Huck is fearful for the man’s safety as the trained horse races around the ring at faster and faster gaits, with the helpless man “hanging onto his neck, and his heels flying up in the air.” Then Huck (along with the crowd) is astonished when this “sot” suddenly stands up on the galloping steed, sheds layers of clothing “so thick they kind of clogged up the air,” and reveals himself to be “slim and handsome” in an acrobatic costume that was “the gaudiest and prettiest you ever saw.” Immediately he “lit into that horse with his whip and made him fairly hum.”

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