Category Archives: Literature

Mark Twain’s Adventures Of Huckleberry Finn (1884)

Samuel Langhorne Clemens (1835–1910) was of course the great American writer and humourist better known by the pseudonym Mark Twain, and lauded as the father of American literature. His novels include The Adventures of Tom Sawyer (1876) and its sequel, Adventures of Huckleberry Finn (1884) as well as A Connecticut Yankee in King Arthur’s Court (1889) and Pudd’nhead Wilson (1894). The latter novel I had on my bookshelf as a boy although I must admit I don’t remember reading it; Adventures of Huckleberry Finn, on the other hand, was a staple of my generation that everyone read.

Clemens used a litany of pen names: before “Mark Twain” he had written as “Thomas Jefferson Snodgrass”, “Sieur Louis de Conte”, “John Snook” and even just “Josh”. There are a number of competing theories about the pseudonym he conclusively decided to adopt, my favourite being the riverboat call from his days working on steamboats: “by the mark, twain” (referring to sounding a depth of two fathoms, which was just safe enough for a steamboat travelling down the Mississippi). However, another theory talks about his keeping a regular tab open at his local saloon and calling the bartender to “mark twain” on the blackboard, and I get the impression that he enjoyed the speculation and never conclusively confirmed one or the other.

He was raised in Hannibal, Missouri, which later provided the setting for both Tom Sawyer and Huckleberry Finn. In his early years he worked as a printer and typesetter, and then, as mentioned, a riverboat pilot on the Mississippi River, before heading west to join his brother Orion in Nevada to speculate unsuccessfully in various mining enterprises. Finally, he turned to journalism and writing which soon won him success and praise from his critics and peers, and led him to his true vocation.

Adventures of Huckleberry Finn is written throughout in vernacular English and told in the first person by Huckleberry “Huck” Finn. The book comes across as an authentic portrayal of boyhood and it is awash with colourful descriptions of people and places along the Mississippi River. Set in a Southern antebellum society marked by the prevalent practice of slavery and its associated societal norms, it often makes for uncomfortable reading, but at the same time it is a scathing satire against the entrenched attitudes of those days. The novel explores themes of race and identity long before that was a phrase, but also what it means to be free and civilised in the changing landscape of America.

Adventures of Huckleberry Finn, 1st edition
Mark Twain

Thomas More’s Utopia (1516)

People are apt, these days, to consider modern life rubbish and that we’re living in a quasi-dystopian society run by fools and cowards and spiralling towards disaster. Fair enough; it would be pollyannish of me to disabuse them of that notion, given the realities of the world, but let me quickly provide a crumb of comfort by pointing out that at least we’re still able to enjoy life’s little pleasures like this blog. And we can at least dream of how it might have been, how we might have been led by philosopher-kings in a just and ideal society enjoying a golden age. A utopia, if you will…

I don’t know if there ever has been a real-life utopia, but it’s perhaps unlikely, given that there have been so many imaginings of one, dating back to 370BC when Plato described the attributes of a perfect state in The Republic (and from where we get the term and idea of the “philosopher-king”). I suppose bright sparks have been lecturing their comrades on how things should be done for as long as humans have lived together, but the written form – utopian literature – gets properly kicked off with Sir Thomas More’s word-coining book Utopia published in 1516.

Thomas More (1478-1535) was the noted Renaissance humanist who was at various times lawyer, judge, statesman, philosopher, author, and Lord High Chancellor of England under Henry VIII. Quite the achiever, and he is even a saint now, since being canonised in 1935 as a martyr (having been executed as a result of failing to acknowledge Henry as supreme head of the Church of England).

“Utopia” is derived from the Greek prefix ou-, meaning “not”, and topos, “place” – so, “no place” or “nowhere”. Interestingly, More had initially toyed with naming his fictional state by the Latin equivalent of “no place” – Nusquama – so we might today have been talking about Orwell’s 1984, for example, as a dysnusquamian novel!

In any event, More’s vision inspired many others to describe their own versions of an ideal utopian society, including Francis Bacon’s New Atlantis (1627), Samuel Butler’s Erewhon (1872) (see what he did there?), H G Wells’ A Modern Utopia (1905), and Aldous Huxley’s utopian counterpart to his decidedly dystopian Brave New World, namely Island (1962). Well, we can keep imagining…

Sir Thomas More

Washington Irving’s The Legend Of Sleepy Hollow (1820)

Well, Halloween is coming round again so I thought it timely to write about a compilation of creepy tales that I have recently finished reading by the 19th century American short-story writer Washington Irving (1783–1859). If you are unfamiliar with the author, you may be more familiar with the titles of two of his more famous stories: Rip Van Winkle (1819) and The Legend of Sleepy Hollow (1820). He was one of the first American writers to earn acclaim in Europe, and he was admired by the likes of Lord Byron, Charles Dickens, Mary Shelley and Walter Scott.

Irving had more strings to his bow than just short story writing: he was a diplomat, serving as American ambassador to Spain in the 1840s, and a historian, responsible for several histories of 15th-century Spain. This no doubt explains why several of Irving’s stories are set in and around Granada and involve ghostly encounters in places like the Alhambra Palace with long-gone Moors from before the Reconquista. Many other stories, on the other hand, are set deep inside another area close to Irving’s heart, rural New York State including the Catskill Mountains (where Rip Van Winkle is set) and the bucolic environs of modern-day Tarrytown on the Hudson river (where The Legend of Sleepy Hollow is set and where, in fact, Irving would end his days).

The Legend of Sleepy Hollow story revolves around local schoolmaster Ichabod Crane and his competition with town alpha-male “Brom Bones” for the hand of beautiful heiress Katrina van Tassel. The supernatural element to the story, however, is provided by local legend which has it that a Hessian soldier who was decapitated by a cannonball in battle still roams the area as a Headless Horseman. Irving was by no means the first to invoke the motif of the headless horseman – they have appeared in numerous stories from Gaelic, Scandinavian and German folklore, for example – but Irving’s is the one that has resonated down the ages, right down to Tim Burton’s (somewhat liberty-taking) movie of 1999, Sleepy Hollow.

Ichabod’s encounter with the headless horseman happens after his rejection by Katrina at the van Tassel household and he is returning home, crestfallen, on a borrowed horse, Gunpowder. Passing though a menacing swamp, he sees a cloaked rider and is horrified to see that the rider’s head was not on his shoulders but in his saddle. A frenzied race ensues as Ichabod rides for his life, desperately goading Gunpowder down the Hollow; as they cross a bridge, Ichabod turns back in terror to see the headless rider rear his horse and hurl his severed head directly at him: the missile strikes Ichabod and sends him tumbling headlong into the dust. The following morning, Gunpowder is found chomping at the grass, with the only sign of Ichabod, who is never seen again, being his discarded hat alongside a mysterious shattered pumpkin…

Washington Irving

Johann Wolfgang von Goethe’s Faust (1808)

Johann Wolfgang von Goethe’s great tragic play, Faust (1808), tells the notorious tale of Dr Faust and his deal with the Devil, a theme that we see recurring in Western art and literature time and time again. Dr Faust is the learned German scholar who is disillusioned by his inability to discover life’s true meaning despite his mastery of the sciences and the traditional and conventional modes of thought. In desperation, he considers resorting to the arts of magic to resolve his frustration, and this attracts the attention of the demon Mephistopheles who will tempt Faust into signing a contract in blood: a lifetime of the Devil’s servitude in exchange for Faust’s immortal soul.

There’s plenty to unpack here and several interesting avenues we can go down. First of all, what of this eponymous character, Dr Faust? Well, he was based upon a real person, one Johann Georg Faust (c.1480 – c.1540), who was an obscure German itinerant alchemist, astrologer, and magician. In the decades following his death, he became the subject of folk legend, transmitted in so-called chapbooks, beginning in the 1580s. Chapbooks, rather than being books for chaps (at least, not exclusively), were actually short, low-budget street literature that were very popular with the public throughout Europe (this was before Waterstones).

The legend of Faust was seized upon long before Goethe: Christopher Marlowe adapted the persona into his play The Tragical History of the Life and Death of Doctor Faustus in 1604, and the Faustbuch brand of chapbook survived throughout the early modern period. Thus, when Goethe wrote Faust, he was dramatising a long-established tradition.

How about the character of Mephistopheles? Here too, we find Mephistopheles appearing for the first time in the early Faustbuchs; he is not the Devil himself but a demon working on behalf of the Devil, and in fact, since he was invented by the anonymous author(s) of the Faustbuch, he is solely a literary character and doesn’t form part of the traditional hierarchy of demonology. In Goethe’s hands he is not only cold-hearted and cynical, as you’d expect, but also supremely witty, and has all the best lines (hence we are reminded of the modern-day observation that “the Devil has the best tunes”).

And the deal itself? The devil and his fiendish temptations have been a literary staple ever since Eve bit the proverbial apple, and mankind has always been grimly fascinated by the trope of trading one’s soul for wealth or superhuman powers, from Oscar Wilde’s The Picture of Dorian Gray to Terry Gilliam’s The Imaginarium of Dr Parnassus. In the case of Goethe’s Faust, the whole is a symbolic and panoramic commentary on the human condition, written in verse throughout, and a classic of European literature. To the Devil his due…

Eugène Delacroix, Faust and Mephistopheles
Goethe

 

P G Wodehouse’s Carry On, Jeeves (1925)

PG (Sir Pelham Grenville) Wodehouse (1881–1975) was an English author who was one of the most widely read humourists of the 20th century. A prolific writer throughout his life, Wodehouse published more than ninety books and would often have two or more books on the go at any one time. His prose style and subject matter was light and breezy and, in his own words, he wanted to spread “sweetness and light”. Just look at those titles: Nothing Serious, Laughing Gas, Joy in the Morning. With every sparkling joke, every gently innocent character, and every farcical tussle, all set in an idealised world of the 1920s and 30s, Wodehouse whisks us far away from our worries.

He had many fans among the great and the good, including former British prime ministers and many of his fellow writers such as George Orwell and Evelyn Waugh; I seem to remember reading that Lemmy of Motorhead used to read him on his tour bus, post-gig! Although Wodehouse wrote several series of books about various characters such as the Blandings Castle set, the unrufflable monocle-wearing Old Etonian Psmith (with a silent P), and the tall-tale-telling Mr Mulliner, most people will know him for the comic creations, Jeeves and Wooster.

Bertie Wooster is the moneyed young toff who cares little about anything other than fashionable socks, frippery, and tophole societal high jinks, whilst Jeeves is the sagacious valet who clearly has the brains that Bertie lacks and who steers his master through many a social storm. The Jeeves canon consists of 35 short stories and 11 novels, and a wonderful starting point is 1925’s collection of ten short stories, Carry On, Jeeves.

My own introduction to Wodehouse, like many people, was the 1990s TV series Jeeves and Wooster, with Hugh Laurie as Bertie and Stephen Fry as Jeeves. Jeeves and Wooster was a weekly escape into a jazz-age wonderland of art-deco apartments, panelled gentlemen’s clubs, “tissue-restoring” cocktails and buffet breakfasts, all serving as a backdrop to a series of predicaments for Bertie from which he would invariably be extricated by Jeeves. The drama was always held together by fizzing dialogue, peppered with bons mots and not a few neologisms from Wodehouse’s pen.

As befitting a man whose characters and situations had such lightness of being, Wodehouse didn’t take himself too seriously either, as this rejoinder to a critic below shows:

A certain critic – for such men, I regret to say, do exist – made the nasty remark about my last novel that it contained ‘all the old Wodehouse characters under different names’…he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have out-generalled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.”

Here’s a typical scene from the TV series wherein Bertie finds himself embroiled in a secret love triangle in high danger of imminent exposure and it’s down to Jeeves to pull off a suitably clever rescue.

P G Wodehouse

HG Wells’s The War Of The Worlds (1898)

HG (Herbert George) Wells (1866-1946) was a prolific writer with more than fifty novels and dozens of short stories to his name. His output was an eclectic mix, including works of social commentary, politics, history, popular science, satire, biography, and futurism (he foresaw the advent of aircraft, tanks, space travel, nuclear weapons, satellite television and something akin to the World Wide Web) – but of course what he is best remembered for is his science fiction, following the remarkable rapid-fire publication over a four-year period of instant classics The Time Machine (1895), The Island of Doctor Moreau (1896), The Invisible Man (1897), and The War of the Worlds (1898).

The War of the Worlds is one of the earliest stories to detail a conflict between mankind and an extra-terrestrial race. It presents itself as a factual account of a Martian invasion as witnessed by the narrator. You know the plot: apparent meteors have rained down around the narrator’s home town of Woking (through which I travelled by train recently, prompting me to make a mental note to write this very blog), but which of course turn out to be far from inorganic space rock, but instead very much not-friendly space aliens bent on destroying humanity.

The first edition was illustrated by British artist Warwick Goble: inky, black-and-white depictions that were eerie, imaginative, exciting, and thoroughly of their late Victorian time. Later, in 1906, the French editions were illustrated by the Brazilian artist Henrique Alvim Corrêa, which turned out to be something of an upgrade, adding to the evocation of Wells’ imagined creatures and their vessels, and of which Wells himself mightily approved.

The War of the Worlds has spawned half a dozen feature films and television series, a record album and musical show (Jeff Wayne, of course), but perhaps the most impactful dramatisation came in the 1938 radio programme directed by and starring Orson Welles. It was very much played for real and if you happened to miss the introductory monologue – which thousands of listeners did – you could be forgiven for thinking the drama was a live newscast of developing events. The programme famously created widespread panic with hordes of people believing that  a real-life Martian invasion was underway right then in North America (Welles had swapped out Woking for Grover’s Mill, New Jersey). It’s easy to scoff at the mass credulousness of the public, but you decide: here’s a clip of the broadcast. Might you have believed it, too?

HG Wells

Plato’s Allegory Of The Cave (c.375 BC)

Anyone who has studied philosophy to any reasonable degree will be familiar with the “Father” of philosophy, Plato (c.428-348 BC). Along with this teacher, Socrates, and his student, Aristotle, Plato underpins the canon of ancient Greek philosophy and, descending from that, the entire history of Western and Middle Eastern philosophy to this day. Alfred North Whitehead summed up Plato’s enduring influence by characterising the whole of subsequent philosophy as “a series of footnotes to Plato”.

Plato innovated the so-called dialectic method of reasoning by way of dialogues between two or more characters (one of them often being his old teacher Socrates himself) in order to tease out the truth about something. Plato’s Socrates turns many an interlocutor on his head with his acute reasoning, and he’s also a dab hand with allegories: his most famous being found in Plato’s Republic and known as the Allegory of the Cave.

In this allegory Socrates describes a group of prisoners who live their lives chained to the wall of a cave, and facing a blank wall. The prisoners see only shadows projected on the wall by objects passing in front of a fire behind them. The shadows are the prisoners’ reality, but are not accurate representations of the real world; they are merely fragments of reality. Socrates explains that a philosopher is one who seeks to understand and perceive the higher levels of reality and is like the prisoner who is freed from the cave and who comes to understand that the shadows on the wall are not the direct source of the images seen.

There is a thread running between this ancient allegory right up to modern times as science grapples with the fundamental makeup of reality and the possibility of higher dimensions but we needn’t tax ourselves with such deep matters right now. Instead, enjoy this excellent clay animation short which summarises the allegory nicely and is the work of writer and director Michael Ramsay, claymation artist John Grigsby and voice actor Kristopher Hutson.

Plato’s Cave

Rudyard Kipling’s Rikki-Tikki-Tavi (1894)

As a child of the sixties, I was exposed to that great 1967 Disney classic, The Jungle Book; I remember being taken to the cinema to watch it and at the end, as the credits rolled, I begged to stay and watch Mowgli, Baloo and Shere Khan all over again (I seem to remember we’d been a bit late and missed the first few minutes so I built my justification upon that; it didn’t work). Meanwhile, at school, a copy of the book on which the film was based was a staple of the class bookcase: Rudyard Kipling’s The Jungle Book. Most of the short stories must have been read out to us at one time or another but one in particular stands out in my memory: the tale of Rikki-Tikki-Tavi.

Rikki-Tikki-Tavi, so named for his chattering vocal sounds, was a young Indian grey mongoose who befriends an English family residing in India. He gets to know the other creatures inhabiting the garden and is warned of the cobras Nag and Nagaina (names perhaps inspiring J K Rowling to choose, years later, the name Nagini for Voldemort’s snake), who are angered by the human family’s presence in their territory and seek to kill them

Accordingly, Nag enters the house’s bathroom before dawn to kill the humans, but Rikki attacks Nag from behind in the darkness. The ensuing struggle awakens the family, and the father kills Nag with a shotgun blast while Rikki bites down on the hood of the struggling male cobra. The grieving female snake Nagaina attempts revenge against the humans, cornering them as they have breakfast on a veranda, but again Rikki saves the day, pursuing Nagaina to her underground nest where an unseen final battle takes place. Rikki emerges triumphant from the hole, and dedicates his life to guarding the garden.

The stories in The Jungle Book were inspired in part by ancient Indian fable texts such as the Panchatantra and the Jataka tales, and indeed there is a similar mongoose and snake version of the Rikki-Tikki-Tavi story found in Book 5 of Panchatantra. Kipling’s “beast tales” were thus the revival of an old tradition, with Kipling’s own spin gleaned from his experiences growing up in India for the first five years of his life (and with a hearty dollop of abandonment issues, perhaps, after Kipling was sent back to England for an unhappy period, but that’s another story). Here are the opening lines to the story.

THIS is the story of the great war that Rikki-tikki-tavi fought single-handed, through the bath-rooms of the big bungalow in Segowlee cantonment. Darzee, the tailor-bird, helped him, and Chuchundra, the muskrat, who never comes out into the middle of the floor, but always creeps round by the wall, gave him advice; but Rikki-tikki did the real fighting.

He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his habits. His eyes and the end of his restless nose were pink; he could scratch himself anywhere he pleased, with any leg, front or back, that he chose to use; he could fluff up his tail till it looked like a bottle-brush, and his war-cry as he scuttled through the long grass, was: “Rikk-tikk-tikki-tikki-tchk!

One day, a high summer flood washed him out of the burrow where he lived with his father and mother, and carried him, kicking and clucking, down a roadside ditch. He found a little wisp of grass floating there, and clung to it till he lost his senses. When he revived, he was lying in the hot sun on the middle of a garden path, very draggled indeed, and a small boy was saying: “Here’s a dead mongoose. Let’s have a funeral.”

“No,” said his mother; “let’s take him in and dry him. Perhaps he isn’t really dead.”

They took him into the house, and a big man picked him up between his finger and thumb and said he was not dead but half choked; so they wrapped him in cotton-wool, and warmed him, and he opened his eyes and sneezed.

“Now,” said the big man (he was an Englishman who had just moved into the bungalow); “don’t frighten him, and we’ll see what he’ll do.”

It is the hardest thing in the world to frighten a mongoose, because he is eaten up from nose to tail with curiosity. The motto of all the mongoose family is, “Run and find out”; and Rikki-tikki was a true mongoose. He looked at the cotton-wool, decided that it was not good to eat, ran all round the table, sat up and put his fur in order, scratched himself, and jumped on the small boy’s shoulder.

“Don’t be frightened, Teddy,” said his father. “That’s his way of making friends.”

“Ouch! He’s tickling under my chin,” said Teddy.

Rikki-tikki looked down between the boy’s collar and neck, snuffed at his ear, and climbed down to the floor, where he sat rubbing his nose.

Rikki-Tikki-Tavi book cover
Rudyard Kipling

Isaac Asimov’s I, Robot (1950)

A few blogs back I wrote about the fantasy world of Ursula K Le Guin and recalled the appeal of browsing the array of science fiction book covers on the shelves at WH Smith’s. One of the giants of that genre – and one that I actually went to the trouble of reading – was Isaac Asimov.

Born in Smolensk in 1920, Asimov was the son of Jewish parents who emigrated to the US in 1923, and the young Isaac was brought up in Brooklyn, New York, where he helped his father run a sweet shop (a “candy store”, I suppose). It was there that he was first exposed to the classic Amazing Stories magazines that his father also stocked, and he was soon diving into the fantastic worlds of Jules Verne and Edgar Allan Poe, and writing short stories of his own.

Although Asimov’s writing career for many years played second fiddle to his professional scientific career (he became a lecturer and professor of biochemistry at Boston University), his output of science fiction was nonetheless prodigious, and eventually the glut of ideas and the success of his writing encouraged him to become a full-time author. My exposure to Isaac Asimov came in the form of his Robot series, notably I, Robot, which my memory tells me I inherited, rather than bought, probably from my Uncle Geoff.

Asimov wrote 37 short stories and six novels about robots and in fact had coined the term “robotics” in a 1941 story. He also came up with his famous and influential “Three Laws of Robotics”:

  1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
  2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.
  3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws.

These Three Laws of Robotics, which Asimov‘s robots were supposed to obey, have resounded down the ages to the present day when the modern preoccupation with artificial intelligence toys with the idea that those laws might be breached, as they clearly were in The Terminator!

Here’s a selection of book covers that gave many an illustrator free rein to portray Asimov’s robotic world, and starting with the brilliant Terminator-like cover that I remember having.

Isaac Asimov

Jack Kerouac’s On The Road (1957)

Back in late 1987 I set off backpacking around the world for several months, a most amazing experience that I could write a lot about but won’t as the point I wanted to make was that travelling presents a multitude of opportunities to read books. In the back of the journal I was keeping, I listed all the books that I had been reading along the way, on buses, in hotel rooms, and on the beach, and it’s interesting to me to review that list as I peruse it now. I’m quite impressed: I see some classics of the dystopian genre (Orwell, Huxley, Kafka), some great American literature (Hemingway, John Irving, Joseph Heller, Kurt Vonnegut), some stars of Brit Lit (Graham Greene, G K Chesterton, John Fowles, William Golding), and of course there had to be a classic about travel and freedom…and that classic was Jack Kerouac’s On The Road.

On the Road was based on Kerouac’s travels with his buddies across the United States in the late 1940s. Being a voracious writer, Kerouac had channelled reams of stream-of-consciousness narrative (he called it “spontaneous prose”) into multiple notebooks and then spent a three-week period in April 1951 copying them all out into one long reel of writing; it would eventually be published in 1957 and become one of the great American novels of the 20th century, the crowning glory of the burgeoning Beat movement.

The novel is a roman à clef, meaning that, whilst its story and characters represent real events and people, it is written with a façade of fiction, and his buddies (William S. Burroughs, Allen Ginsberg, Neal Cassady, themselves key figures of the Beat Generation) appear as fictional characters, with Kerouac himself cast as the novel’s narrator Sal Paradise. The plot is centred around several road trips that the protagonists undergo, and the chaotic adventures they experience.

The narrative is full of Americana which appeals to my romantic side (indeed, it was the image of the Wichita linesman in my last blog that got me thinking about On The Road in the first place). We read about long roads and highways, Cadillacs and Ford Sedans, cheap motels and Skid Row, nightclubs and bars, jazz and poetry, drugs and bordellos, and along the way get acquainted with forties New York, San Francisco, New Orleans, Chicago and St Louis and a myriad other towns and cities of America.

Although my own travel journal remains little more than a log of events, of interest only to me, Kerouac’s journals turned into a tour de force of literature and a fascinating insight into America’s counterculture.

Jack Kerouac