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Mark Twain: Working Class Hero and Capitalist Protégé

By Molly Miller

Writing Apprentice

Twain Studios

Between his lavish Nook Farm home and his reckless business ventures, Mark Twain could easily come across as a greedy capitalist, a man who could care less about the thousands of workers who could lose their jobs to the Paige Compositor, so long as it could keep his wallet fat.

In Mr. Clemens and Mark Twain, Justin Kaplan wrote that Twain signed an agreement in 1889 which bound him to paying James W. Paige about $160,000, plus $25,000 a year for 17 years, in exchange for all rights in the compositor, which Twain referred to as “a magnificent creature.”

Twain thought the machine would give returns of about $55 million a year.

The Paige Compositor did not pay off as Twain thought it would; instead, it left him bankrupt.

And though Twain did work his way out of bankruptcy by giving lectures and writing novels, he also got by with a little help from his friends in high places.

Henry Huttleston Rogers, for instance, helped bail Twain out of his typesetter troubles. Rogers was a chief architect of the Standard Oil trust, and despite Rogers’ questionable business practices, Kaplan wrote that Twain called him “the only man I care for in the world; the only man I would give a damn for.”

In fact, Twain admired Rogers for his faults.

“He’s a pirate all right, but he owns up to it and enjoys being a pirate,” said Twain. “That’s the reason I like him.”

Kaplan wrote that steel industrialist Andrew Carnegie spoke about  Twain’s recovery in terms of admiration and approval: “Our friend entered the fiery furnace a man, and emerged a hero.”

It may not be accurate to describe Mark Twain as a friend, or even a member of the elite.

“There were definitely people in Hartford who looked down on him because he came from a different area,” said Patti Philippon, chief curator of The Mark Twain House & Museum.

Twain married into and lived among the upper-middle class, but he still had to work to gain approval.

He was less of a friend, and more of a protégé.

Twain took the advice and earned the approval of the great robber barons, and had a hard time turning down get-rich-quick schemes.

And yet in March, 1886 at the Monday Evening Club, in the company of the most distinguished gentlemen in Hartford, Twain spoke of the worker in high esteem, and condemned the capitalist.

“Who are the oppressors?” Twain asked, according to Philip S. Foner’s account in Mark Twain: Social Critic. “The few: the king, the capitalist, and a handful of other overseers and superintendents. Who are the oppressed? The many: … they that make the bread that the soft-handed and idle eat. Why is it right that there is not a fairer division of the spoil all around? Because the laws and constitutions have ordered otherwise.”

Twain valued the consent of the governed and the power of the workers.

“If the banded voters among a laboring kinship of 45 million persons shall speak out to the other 12 million or 15 million of a nation,” Twain continued, “and command that an existing system has in that moment, in an absolutely clear and clean and legal way, become an obsolete and vanished thing, then it has utterly ceased to exist.”

In fact, Twain’s Monday Evening manifesto almost sounded Marxist in its declaration of the inevitability of a revolution, once the superstructure falls away and the working class becomes aware of its destiny.

“When all …  the myriads of toilers in whom is slumbering the reality of that thing which you call Power … when these rise … a Nation has risen,” Twain is quoted as saying in Foner’s book.  “The working millions, in all the ages, have been horses – were horses; all they needed was a capable leader to organize their strength and tell them how to use it, and they would in that moment be master.”

Privately, Twain wrote that men were “half murdered by overwork,” and condemned “capitalist-employers” who demanded that eight-hour work days should be voluntary, not mandated by legislation, according to Foner’s book.

In thought and word, Twain was a staunch supporter of the budding labor movement. According to Kaplan, he saw himself as a sans-culotte, fighting for the common man.

Twain saw himself as a working class hero, and probably a self-made man. He did his part as a writer and lecturer to elevate the workers and denounce the management, but he never put his money where his mouth was.

Instead, Twain put all of his money in the Paige Compositor, even though he knew that, if successful, the machine would put thousands of printers out of work.

He tried to research the membership and organization of printers’ and compositors’ unions, but Kaplan wrote that Twain did so through an intermediary to keep his name out.

Twain referred to capitalists as “oppressors.” Yet when he tried to make millions off of the Paige Compositor, he relied on capitalists to help him pursue his dream.

He relied on their help again after the Paige Compositor left him bankrupt.

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The Grating American Novel

By Grant Henry

Writing Apprentice

Twain Studios

For a nation so proud of its literary canon, the most popular books in America tend to be nothing to write home about.

William Faulkner and Mark Twain are among the many skilled authors that have defined the standards for the novels and nonfiction writing of the nation. But when checking The New York Times bestseller list, you will never find books of the caliber of American Classics listed.

The erotic novel 50 Shades of Grey succeeded in selling a million physical copies in only 11 weeks, and that is not considering the millions of sales on digital e-readers like the Kindle. Meanwhile, there likely are hundreds of potential instant classics that get ignored every year.

Back in the 1990s, according to the Lakeland Ledger newspaper, the Delray Beach Public Library in Florida had little space in the library and used the frequency a book was loaned out to decide which stayed on shelves and which were archived in a back room.

To the discomfort of many, the number of times novels by Tom Clancy or Stephen King got checked out was high enough for those books to stay openly available while works by Hemingway and other classic authors had to be stored away, only obtainable by asking a librarian for access.

Stories like these are not rare. The reading habits of the average American seems to contradict what they learn in their high school English courses. Those who are angry about this are incredibly vocal about their thoughts on the matter.

What audacity writer James Patterson must have, to write cheap thrillers meant to mildly entertain people on airports! He should put his talent – and team of ghost writers – on the task of creating something meaningful that will last against the changing tides of cultural fads! It is the saddest thing to learn that those books get read more than critical darlings and classics, many fans of literature and struggling novelists might say.

Folks on the side of high-brow literature fight a mean fight when given the chance. They cannot fathom the stark contrast between the opinions of critics and the reading habits of consumers.

What needs to be considered when addressing the topic of high and low art is the criteria and amount of time required for something to be regarded as “important,” and how public perception and awareness of a work of art can change drastically over extended periods of time.

Let’s look at Mark Twain’s novel, Adventures of Huckleberry Finn. Though it paved the way for the modernist movement, the novel’s controversy existed right from publication.

The language, for example, was criticized. In Huck Finn, Twain portrayed the common language of Missouri rather than the idealized Oxford way of speaking commonly seen in literature. Today, English majors and writers alike see this as a milestone in literature, but at the time of release, people saw the phonetically spelled words an inconvenience that got in the way of telling the story.

Critics hated the handling of race as well. To some, the runaway slave Jim comes off as a caricature and the heavy use of the word “nigger” is still a tough issue today.

Stephen King, Patti P

Stephen King at The Mark Twain House in July 2013

But over time and many readings, the consensus grew to see the novel as incredibly anti-racist, vilifying the communities that owned slaves and raised children to morally accept it.

The world could easily have shrugged Huck Finn aside after its publication, and the book wouldn’t be seen as the achievement it is today. But the test of time proved it a classic and a high contender for the Great American Novel. It’s unfair to compare classics like Huck Finn to most modern novels because contemporary fiction doesn’t have the volumes of in-depth analysis Huck has.

It took decades for The Great Gatsby to gain the legendary status it has today, and A Confederacy of Dunces was published posthumously long after John Kennedy Toole’s suicide. We will not know what novels will define our generation, just as people didn’t know how Huck Finn would be remembered a century ago.

But even so, is it worth throwing a fit over people reading paperback romance novels rather than complex contemporary fiction? Should we care when Twilight sells more than a Murakami novel?

Many people believe that people shouldn’t sweat over books that don’t strive for greatness. The popular novelist Stephen King calls himself “the literary equivalent of a Big Mac and fries.”

During a recent appearance at Hartford’s Bushnell Center for the Performing Arts, King explained that he dislikes people who willingly avoid the kind of pop-literature that often includes his own work. He compared those people with children who try to keep different types of food on their plate from touching.

Sculptor Joe Keo brought insight, pointing out that art is a business just like anything else. An artist, Keo said, is more than a pretentious person wearing a beret.

An artist is anyone, and the few artists that become household names are incredibly uncommon.

An actor isn’t only those seen on the Hollywood screen or Broadway stage, either. There are thousands of actors trying to make a living doing what they love.

To bash books that become financial successes despite sub-par quality is to put up an imaginary distinction that does not exist.

Joe Bun Keo

Joe Bun Keo

One of Mark Twain’s primary focuses when writing was to make money.

In an 1887 letter to William Dean Howells, Twain wrote, “High and fine literature is wine, and mine is only water; but everybody likes water.”

Had it been impossible to make money from book sales, we wouldn’t have James Patterson OR Mark Twain.

Time sorts out the imbalances we observe in present-day art. You likely don’t know the name of the novel that will be known as this generation’s greatest literary achievement. That book will be analyzed and read extensively in literary journals and English classes everywhere.

50 Shades broke sales records, but that won’t go on forever. As long as you wait it out, you will find the early 21st century’s Great American Novel, but for now, don’t sweat about it.

Mark Twain’s Style of Humor Lives On in Today’s Comedy

By Alan Burkholder

Writing Apprentice

Twain Studios

Almost everyone in the world loves Mark Twain. There’s no denying that his work has had quite an impact on society, both in the past and in the present.

Don’t lie to me. You’ve heard the name Tom Sawyer before. If you know who Tom Sawyer is, you probably also know about his friend Huckleberry Finn. These two troublemaking brats have become two of the most famous child characters in all of literature. I say two of the most because a certain young woman from England has recently had more success in the way of children’s literature.

However, Samuel Clemens, who wrote under the name Mark Twain, is arguably the most celebrated author in classic American literature.

Being from a small town in Missouri, Twain had an American upbringing, and as such Twain’s books are very American in nature. These stories range from a story about a notorious gambler in Nevada who gets too cocksure about a jumping frog, to a man from Connecticut who winds up face to face with King Arthur and builds an industrial empire which later ruins their society. Whoops.

His books varied in message and tone, but Twain always had one quality which set him apart from other writers of the time: a sharp and dry wit. Twain was at heart a humorist, and he never stopped trying to be the witty gentleman, even in old age. He was aware of his humanity, and often poked fun at his own flaws.

“We ought never to do wrong when people are looking,” he wrote in “A Double-Barrelled Detective Story.”

But where did Clemens get his inspiration? What was the source of Twain’s persona as a witty individual?

Part of the blame can be pinned on Sam’s mother. While his father was strict and humorless, his mother was always the unconventional woman. She was humorous in nature and she bounced around from religion to religion, even once taking her son to a temple rather than a church.

According to Steve Courtney, publications editor at The Mark Twain House & Museum in Hartford, Connecticut, Sam and his mother would often joke a lot with each other, probably trying to see if they could outwit one another.

“This disposition to experiment is an inheritance from my mother,” Twain said in a Feb. 28, 1901 lecture reported in the New York Times.

Twain was also inspired by a lot of other people in his life. He based several characters in The Adventures of Tom Sawyer on his boyhood memories in Hannibal, Missouri. His mother became Aunt Polly, his childhood sweetheart became Becky Thatcher, and several troublemaking boys combined to make the ever-bothersome Huckleberry Finn. He also based the runaway slave Jim on his butler, George Griffin.

Twain wasn’t just about characters, though. He was also heavy into politics and could never keep his mouth shut about anything. The grand result of this love of satire was a book called The Gilded Age, in which Twain practically tore American values of the time apart at the seams and revealed the ugly truth beneath all of it, all the while never letting up or apologizing for his actions.

Despite his controversial nature, however, Twain was not a troublemaker. He was simply a rabble-rouser, and he always had a good reason for writing every shocking sentence he ever put to paper.

“Always do right,” Twain wrote in 1901. “This will gratify some people and astonish the rest.”

Twain’s work, to this day, continues to both gratify and astonish readers all over the world. Part of the reason is the way Twain presents his humor.

Mark Twain House & Museum Chief Curator Patti Philippon said Twain tended to write how people actually sound.

Instead of being flowery and poetic, Twain wrote his books in plain English so that the message wouldn’t be lost.

“You can understand (Twain) a lot better” than most writers of the time, Courtney said.

People had written plainly before Twain, Courtney said, but he was “the first to make it a point.”

Twain, however was never completely blunt. He realized that in order for the audience to get the message, he had to make it interesting. He didn’t tell you to be honest. He simply said, “when in doubt, tell the truth.”

Twain is not the only person in the world to use humor as a selling point, however. Modern entertainers borrow heavily from Twain’s method of telling stories like they happened. Good humor is always a welcome addition to any story.

Most modern comedies realize that in order to be funny, there doesn’t need to be a lot happening.

Shows like The Daily Show with Jon Stewart, The Colbert Report, and Louis CK’s Louie draw a lot of praise and laughs basically having a small group of people who have a small focus, but a lot of insight. I like to refer to this kind of humor as “Seinfeldian,” after the show (and comedian) that made it popular.

One person who’s familiar with this style of humor is Patrick Skahill, the producer of WNPR’s The Colin McEnroe Show, a Connecticut-based radio program that deal heavily with satire and wit.

Before each show, Skahill said, the producers and stars of the shows “keep an eye out for weird stories,” and then “brainstorm and think of ideas” that they want to discuss.

“Most of it is on the fly,” Skahill said.

Humorists don’t always script everything. Often, they just come up with ideas and work with them from there. This was certainly true of Huckleberry Finn, which started out as the sequel to a boy’s book and turned into one of the most humorous and heartfelt books in recent history. A lot of modern humor is based on social satire. Twain was not shy about social satire.

Twain did a lot of lecturing in his time, which was basically the 19th century equivalent of stand-up comedy. He would go out on stage, start telling a tale, and leave the audience roaring.

Off the stage, Clemens was shy and hated talking to people. On stage, he was a social commentator who seemingly knew more about the country than every politician of the era combined.

Philippon said Twain and Clemens were the same at the core, but Twain was more of a “persona.”

Twain used this persona when writing jokes, because Twain was much funnier. The same can be said for a lot of modern comedians. Everyone adopts a sort of stage persona, whether it be the loudmouth who loves to judge people, the quirky girl who observes a lot of crazy stuff happening, or the good-natured fat guy who likes to poke fun at himself.

All have a character on the stage who represents an exaggerated version of themselves. They earn bonus points if they act like this off of the stage as well.

Comedy writers also like to indulge in exaggeration for comic effect. Twain was a master in this field, especially when it came to his satire. Early in his career, Twain wrote in a newspaper about a “Terrible accident” that hadn’t actually happened, a satire on the sometimes alarmist nature of the news. Alarmingly enough, this kind of satire still holds up today, as several members of Saturday Night Live could easily attest.

Twain’s humor is timeless, touching on topics that are still relevant after about 150 years. To this day, people still follow his lead, in comedy, drama and in writing overall.

In his story, “Green Hills of Africa,” novelist Ernest Hemingway wrote, “All of modern American literature can be traced back to … Mark Twain’s Adventures of Huckleberry Finn.”

It seems rather ridiculous to place this much credit upon one person, but Twain was brilliant enough to deserve it at the time.

And he still deserves it today.

Distinctly American, Twain’s Style Celebrated the Vernacular

By Cecilia Gigliotti

Writing Apprentice

Twain Studios

Do you speak American?

Mark Twain did. In fact, he is credited with pioneering the presentation of a distinctly American language as literature.

At the Mark Twain House & Museum in Hartford, Patti Philippon, chief curator, and Steve Courtney, publicist and author, had much to say about the forward-thinking 19th-century literary superstar. According to Philippon, Twain’s use of the vernacular – “slangs and colloquialisms” peculiar to certain geographical regions and races – is what makes books like Adventures of Huckleberry Finn stand out.

“It’s putting into words how people from that era sounded,” Philippon said.

Of course, oftentimes people didn’t sound so nice. Huckleberry Finn is defined today by the censorship and controversy surrounding Twain’s extensive use of the racist word “nigger.”

At New Britain High School a few years ago, a teacher in an American Lit class began to teach the novel – but not before closing the door. She introduced the book in hushed tones and told students not to mention it if they ran across the principal. She never said why.

Today, teachers across the state and the nation are working to combat this sensitivity.

Prof. Kerry Driscoll, who teaches English at the University of St. Joseph, is a longtime Twain enthusiast. She taught a summer class on Huckleberry Finn at the Twain House, where she has lectured a number of times.

Kerry Driscoll

Prof. Kerry Driscoll

In her experience teaching the book, two major dialectical barriers have stood in Driscoll’s way.

“At the level of comprehension,” she said, “It’s hard for students to understand.”

Sometimes, it helps students to hear the language rather than read it.

“What I recommend is that if there’s a word or sentence that you don’t understand, say the sentence out loud,” Driscoll explained.  For instance, when the character Jim says “gwine,” what could g-w-i-n-e possibly mean?

“Sound it out,” Driscoll said, and the reader realizes that Jim is saying ‘going to.’

The accuracy of Twain’s characterization through dialect is astounding. Driscoll often asks her students’ opinions on why Twain includes, before the first chapter, a list of the seven dialects used throughout, such as ‘rural Pike County.’

“This is a realist book,” Driscoll said.

In using local dialects, Twain is holding a mirror to the lifestyle of those regions.

The other obstacle in Twain’s use of dialect is harder to conquer. The racial slur, Driscoll said, is what “makes the book so controversial.”

But she said it is key to understanding the “evolution of [Twain’s] own racial attitudes” and those of the times.

A recent edition of Huckleberry Finn in which the word ‘nigger’ is replaced with the word ‘slave’ is “an appalling decision,” Driscoll said. “That’s not the book Mark Twain wrote.”

As a teacher, she said, it is her responsibility to use the word in class discussion and stay true to Twain’s motives.

“The word appears 219 times in the book for a reason,” she said. “I’m going to read what Mark Twain wrote. It’s deliberately ugly, and I want students to hear it.”

Her determination has occasionally come at a cost. A student once complained that she was a racist teacher forcing the class to read a racist book.

But Driscoll has no intention of abandoning her approach.

“There’s no magic cure or fix,” she said, adding that the best teachers can give their students is “background preparation” – the word’s historical context and the obvious differences in tolerance of the word between the 1880s and now. Still, this is sometimes not enough to alleviate the soreness.

There’s been soreness for a while, and for a number of reasons. Since its publication, school districts and libraries in 28 states have banned the book.

But in 1885, public outrage stemmed from the opinion that Huck was not a proper role model for children. People were taken aback at Huck, the “irreverent” narrator, said Driscoll.

Driscoll described Huck as a “white-trash kid [allowed to] tell his own story on his own terms.”

In a pivotal scene, Huck decides to protect his friend Jim, a runaway slave, despite childhood teachings that the act would condemn him for eternity.

“All right, I’ll go to hell,” the boy resolves.

Huck was “a bad boy,” said Philippon, and Twain’s adult readers had a problem with that.

Driscoll pointed out the irony that while the objection in 1885 was not to the language used but to Huck’s offensive behavior, it has only been since the New York City school board banned it in 1957 that Huck’s character is celebrated and the language is found offensive.

The civil rights movement of the ‘60s, Courtney said, was a turning point for the racial slur. That was when it evolved into “a fighting word,” he said.

But Driscoll holds fast to her image of Twain as a “careful wordsmith.” Whatever words he chose, he wanted, she said.

In an 1888 letter, Twain wrote, “The difference between the almost right word and the right word is really a large matter – it’s the difference between the lightning bug and the lightning.”

Lightning can be both amazing and frightening to behold. It is an energetic force capable of destruction, but it plays a necessary role in the ecological cycle, and nature certainly would not be complete without it.

Using his charged language, Mark Twain infused our literature with a little more lightning, a spark that is uniquely American.

Mark Twain: An Estrangement with Religion

By Rae Martin

Writing Apprentice

Twain Studios

     It’s no secret that throughout Western history – before the rationalist and secular movements of the past few centuries – organized religion has held massive sway over humankind.

By Rae MartinMark Twain, for his time, was quite progressive in some of his views on religion – and obliquely depressing in others.

It’s surprising, on both accounts, considering he was born in a conservative small town, which typically leads to a strong sense of faith.

Being born in Florida, Missouri today would be hard enough, but during the 19th century? Unfathomable. It’s simply stunning that Mark Twain grew to criticize religion, an establishment still venerated by some today.

“If you think something is important, and it’s going the wrong way, you get really passionate,” said Steve Courtney, publicist and publications editor of the Mark Twain House & Museum,

Passionate is a meek word for some of Twain’s last writings on religion and life.

If his appreciation of the importance of religion comes from his social environment growing up, then his amiability in terms of differing beliefs comes from his mother, Jane Clemens.

She was not a puritan in any sense, but a sampler of religion who brought her son along for a taste of faith at different houses of worship.

And from church, to cathedral, to synagogue; she sampled religious tastes. And if you can’t already tell, that kind of thing simply didn’t happen.

“His attitude toward religion changed considerably,” said Courtney.

With that history in mind, it now seems unlikely that Twain would have grown up to be anything other than open-minded when it came religion and slavery, the two biggest social conventions of the day.

Patti Philippon, chief curator of The Mark Twain House & Museum, described Twain as “very spiritual.”

It’s clear to me that Twain did believe in some sort of god, and his rants against that god is more to disparage the church of the day and as an expression of feelings stirred by the deaths of three of his four children.

The untimely deaths of all but one of his children, coupled with increasing American imperialism, the hypocrisy of Gilded Age culture and immense worldwide fame built up a mocking critique of bullshit dogma from religious institutes.

If Twain was alive and writing today, he would probably be agnostic.

Mark Twain “gravitated between two views,” said Courtney, either believing that God didn’t exist, or thinking God is a sadist.

He’d have possibly railed against the contemporary church even more than he did against the church of his time, due to a surge in anti-religious and anti-church thought that has swept through the Western world.

If he had been born in contemporary times, he would be a Christopher Hitchens-type figure, relentlessly questioning and challenging organized religion.

Twain was not only a magnificent writer of prose but a well-versed public speaker on all issues of culture and society. Not only jabbing at religion, but also foreign policy, class warfare, social and economic dispositions.

His provocative inquiries would likely ignite hatred and threats of personal violence as his distinct boldness in the oral and literary arts is marked by a refusal to back down in the face of cultural taboo.

Another parallel is the surprising friendship that the atheist Hitchens found with Pastor Douglas Wilson. Twain found close counsel in the Rev. Joseph Twichell of Asylum Hill Congregational Church in Hartford, where the Clemens family attended.

In today’s extremely polarized society, Twain’s caustic demeanor would certainly have been drawn out even more than in his day. He would have been right at home in contemporary pop culture, a place ripe for the pickings of a satirist of Twain’s caliber.

Guilded Age Included Luxury Fashions

By Ashaya Nelson

Writing Apprentice

Twain Studios

The Gilded Age following the Civil War, is known for women wearing corsets, so they could have the perfect silhouette, with long heavy skirts. Men’s outfits were set off by spiffy bowler hats.

American author and humorist Mark Twain created the term “Gilded Age.” At the start of this time, the country experienced a rapid increase in the population and growth in the economy.

But Gilded Age fashions were for those who could afford it. The upper-class wore these extravagant costumes.

I believe that clothing at this time was valued more than fashion is today. In the eyes of the people, fashion wore was like art. Women wore luxury fabrics, and dresses were detailed and fitted.

According to Patti Philippon, chief curator at the Mark Twain House & Museum, people wore a variety of outfits for different occasions in the Gilded Age, which ended in 1893 because of the bad economy.

Women would have a different costume for going to an opera, visiting or doing work such as washing clothes.

Fashion even mattered in times of grieving. There were stages to the mourning costume. For mourning or funerals, black dresses with pansies were worn, Philippon said, explaining that pansies were flowers that represented thoughts and remembrance.

Teenage girls had to dress as women in long dresses. The younger girls would wear shorter dresses.           Toddlers and babies – both boys and girls – wore embroidered dresses that were very detailed, Philippon said.

Women would either go to their own seamstress or go to a boutique to get new clothes. The Clemens family bought their clothing from Arnold Constable & Co. in New York. They also sometimes had their clothes made for them.

Olivia, Mark Twain’s wife, had a woman in Paris who created her dresses.

The dresses were so big and bulky; they couldn’t fit into a closet. There also weren’t hangers at this time. So they used wardrobes to store their clothing.

Clothes brushes were use for dusting off dresses. Also in this era, washing machines were not yet invented.

During the winter, everyone wore dark clothing, and in summer, they wore light colored clothing.

Upper class men wore dark suits that Mark Twain called “crows,” but in old age, Twain didn’t follow these customs.

He often wore white wool suits out of season, sometimes with colored socks. Twain called it his “don’tcareadamnsuit.”

In February of 1906, he wore the suit because he knew it would attract attention before testifying about copyright before a Congressional committee.

In a Gilded Age exhibit at the museum, a bicycle and clothing are on display.

Bike importer Colonel Albert A. Pop of Boston created the “Drop Frame.”

It was a safer bike for women that was lowered for skirts. The Divided Skirt and Bloomer Costumes were made for women who rode bikes.

The Divided Skirt looks like a flared skirt, but are actually pants. Bloomers were made for women who wanted to engage in activities.

The bloomers are still worn for athletic purposes, and also for fashion. They’re used for toddlers and infants to cover their diapers.

The accessories, just like the clothing, were interesting. The women wore hair combs, hair jewelry, and extensions.

Hair was weaved and made into jewelry and was given to someone else, symbolizing remembrance and mourning.

Some of the unique fashion of the Gilded Age has been revived today. Women still wear hair extensions and combs. Harem pants were inspired by the style of bloomers.

Fashion shows the evolution of history.

Daughters Died of Illnesses That Can Be Treated Today

By Lina Allam

Writing Apprentice

Twain Studios

     Like any father, Samuel Clemens adored his children and worked hard to provide them with the life that he never had.

But during the 1800’s medicine wasn’t as advanced as it is today, and Clemens lost three of his four children at a young age to medical troubles that might have been prevented today.

susy_clemens

Susy Clemens

Clemens, famous for the writing he did under the pen name Mark Twain, lost h is first and only son, Langdon, to diphtheria around the age of 19 months.

Clemens and his wife Olivia also had three girls: Suzy, Clara, and Jane, who lived in the family’s Hartford home until their teenage years.

But when their father lost all his money from investing in the failed invention, the Paige Compositor, he traveled the world doing public speaking to pay off his debts.

When the time came for his family to return home, his oldest daughter, Suzy, then 24 years old, died of meningitis.

Meningitis is a bacterial or viral infection that attacks the brain or spinal cord. The viral strain is untreatable, but eventually the patient’s organs are able to defend the body against the virus, though it could take a week or two.

Bacterial meningitis can be treated through antibiotics, however if it is not treated, it can be fatal. This deadly type of meningitis – called meningococcal disease – causes an overwhelming infection in the body’s internal organs.

If antibiotics are given early during the infestation, the antibiotics could save a life, said Dr. Leonard Banco, a pediatrician and the chief medical officer of Bristol Hospital.

At the time Suzy died, there weren’t antibiotics available to treat the disease, according to Dr. K. Patrick Ober, an endocrinologist at Wake Forest Baptist Health in Winston-Salem, North Carolina who has a keen interest in historical medicine.

Jean, the youngest daughter, was diagnosed with epilepsy at age 15 and suffered seizures.

Banco said epilepsy is a seizure disorder that occurs in an organism mainly because of incorrect wiring in the brain. In a person with epilepsy, this causes seizures to sometimes occur in order for the body to regain its normal state. They can include the clenching of teeth and intense shaking, Banco said, and sometimes loss of consciousness.

An epileptic episode occurs because of a large discharge of energy released by the brain, Banco said.

jean_clemens

Jean Clemens

But unlike meningitis, epilepsy cannot be cured and is often something that one is born with.

Without antibiotics and other medicine, Ober said, medical treatment during the time of Mark Twain was limited. Some medicines doctors used, including Lepomane, which is a drug like heroin and often leads to addiction, could be harmful.

Without other options, doctors also often tried to bleed the patient out in order to remove any of the “bad” or “sick” blood, Ober said.

Doctors had no way to treat meningitis in Jean’s day. Ober said there was no medicine for epilepsy. Many medical professionals at the time thought that the epileptic seizures were the cause of intense amount of stress.

Though her family tried to keep Jean calm, she died of a heart-attack brought on by a seizure in 1909. She was 29.

Today, epilepsy is most treated with anti-seizure medicine, though sometimes other treatments are used, according to information provided by the Mayo Clinic.

Meet The Jakes of Twain Studios

Jakes on the Clemens porch

The Jakes, on the porch of The Mark Twain House, July 2013. From left: Indira Senderovic, Ashaya Nelson, June Tran, Nick Sherman, Meaghan Szilagyi, Molly Miller, Alan Burkholder, Cecilia Gigliotti, Rae Martin, Lina Allam, Ambriel Johnson, Grant Henry, Jahyra White

Editors’ note: The work published in August 2013 in a printed anthology that was not previously published on this blog follows in this and subsequent entries on the Twain Studios blog.

By Molly Miller and the Jakes

Writing Apprentices

Twain Studios

Five and a half weeks ago, we were just a bunch of crazy teens staring at blank Microsoft Word pages, unsure of what to say to each other, let alone to the world. But through our shared love of the written word, we quickly became best friends, dubbing ourselves the “Jakes” (short for J.K.s, which is short for Journalism Kids.)

The Jakes went on all kinds of wonderful adventures together, through haunted houses, the Connecticut Public Broadcasting recording studios, and the basement of the Immanuel Congregational Church. All of these places inspired our writing.

We honed our interrogation skills by hammering the governor of Bermuda, the world’s strongest librarian, and a photojournalist from Uganda with all the tough questions. We learned to avoid passive tense like the plague by listening to and meeting Stephen King. Journalists from The Hartford Courant and CT News Junkie told us what it was like to work professionally as writers, and taught us tips for acing interviews. We received expert advice on the art of writing resumes and managing money.

In no time, our blank Microsoft Word pages became saturated with our thoughts and research on everything from the mysterious allure of bad boys to Victorian fashion, from One Direction to Harriet Beecher Stowe, and we shared our work with the world through our blog, TwainStudios.com.

We now present an anthology of our finest works in this literary journal. We’d like to thank our teacher Jackie Majerus, who worked hard to put this booklet together, and everyone at The Mark Twain House who taught us about Mark Twain and let us use their space. We’d also like to thank the Greater Hartford Arts Council, and all of the sponsors who made this program possible. We hope you enjoy reading our work!

Giddy Fangirl Soaks Up Wit and Wisdom of Stephen King

By Cecilia Gigliotti

Writing Apprentice

Twain Studios

The first words out of Stephen King’s mouth when he took the stage at the Bushnell Center for the Performing Arts Thursday were, “I’m a Belieber.”

It might have been a joking reply to Colin McEnroe’s comment about the full house simply failing to get into the Justin Bieber concert a few blocks away, but it seems typical of King’s attitude toward life.

His sense of humor is incredible, given the dark matter his work explores. It’s hard to believe so much scary stuff sprang from the mind of this adorable guy in a black turtleneck, jeans, and large glasses, boyishly shying away from the tumultuous standing ovation he received upon walking onstage at the Bushnell’s Mortensen Hall.

His memoir On Writing gives gallons of invaluable advice to readers, including “I believe the road to hell is paved with adverbs.”

That one was hard for me, given my affinity for adverbs at the time. I undoubtedly adored them, spilling them haphazardly over my pages, trying relentlessly to make my writing sound effortlessly interesting – oh, crap, there I go again. Sorry.

Among the writers King mentioned in admiring tones throughout his conversation with WNPR’s Colin McEnroe were Margaret Atwood, Charles Dickens (for his presentation of “honest emotions,”) William Golding (for Lord of the Flies – one of my favorite books, too!) and Dr. Seuss.

You can’t get much better than a tip of the writer’s hat from Stephen King. So, if we call ourselves King fans, let’s all pick up a copy of Great Expectations, and oh, the places we’ll go!

In On Writing, King details his employment of the “Hemingway Defense” at the height of his alcoholism. As a writer, King said, “I am a very sensitive fellow, but I am also a man, and real men don’t give in to their sensitivities. Only sissy-men do that. Therefore I drink.”

While I in no way endorse this approach, my Hemingway-fan-sense starts tingling whenever I read this passage. King knows what good writing is. That’s why he’s such a great writer.

In his Bushnell appearance, King touched on the 1999 accident that nearly killed him, his (mis)adventures playing guitar with the Rock-Bottom Remainders, the person whose body he would choose to inhabit for 24 hours (he chose a person with a life vastly different from his own), Stanley Kubrick’s mutilation of The Shining, why he likes to say “Excedrin” instead of “painkillers,” the indistinguishable difference between popular fiction and literature, his upcoming novel Doctor Sleep (a sequel to The Shining), and a little boy playing with a stick in the mud – an image which inspired It.

Along the way, he got a lot of laughs, hollers, and applause. There is no denying his charisma, and he deserves all the accolades. But his small-town-ness is just as real – the simple Mainer whose most cherished pastime is sitting down and letting the words flow.

Here are just a few more ideas the King threw out last night, not necessarily about writing, and my reactions:

1.  “The Great American Novel is the quest novel.” Okay. Good to know. Note to self: start thinking up some interesting quests.

2.  “I still can’t get through Moby-Dick.” Wait, isn’t that a quest novel? (Not to mention widely considered the Great American Novel?)

3.  “I choose to believe in God – it’s a conscious decision…because what’s the downside? I mean, if you die and there’s nothing, you’re not gonna … know!” Perhaps. You can believe what you believe, Mr. King (or, if you prefer, beliebe what you beliebe). But hey, Stephen King and I both believe in God! Pretty cool, no?

4. “If you didn’t laugh at life, you would cry.” A rather pessimistic notion for my taste, but King is pushing 67, and, as Mark Twain said, “There is no sadder thing than a young pessimist, except an old optimist.”

5.  “[When the interviewer asks about your childhood,] what they really want to know is, ‘What fucked you up so bad?’” We all have our demons, Mr. King. Your triumph over alcoholism and drug addiction is a real testament to us budding book-writers that a belief in the craft can conquer anything. Thank you for being that beacon to us. And with that, my philosophical quota for this post is filled.

6.  “For one golden moment, books trumped rock.” First, how many people can say they had dinner with Bruce Springsteen? And second, how many people can say a fan approached their table and requested the autograph OF THE PERSON WHO WASN’T BRUCE SPRINGSTEEN?

7.   “My idea of a really good meal when you’re hungry is Waffle House.” Allow me one sentence of fangirlish folly: STEPHEN KING EATS BREAKFAST FOR DINNER! JUST LIKE ME! EEEEEEP! (By the way, in case you’re interested – which I know you are – he has a waffle, two eggs over easy, bacon, and sausage.)

8.   “I write books that are over a thousand pages long. I don’t do lightning rounds.” Do you do lightning bug rounds? (*ba-dum-tish* Twain reference!)

9.   “I like Hartford … I don’t like coming in on I-84.” You and the entire house, buddy.

Thanks for sharing your nuggets of wisdom with us, Mr. King. You’re truly a wonder, for people who like the horror genre and for people who just like to write. So keep sending this reporter those checkered tablecloths and blue eights, because I’ll keep taking them. And I’d bet any money that everyone in the house enjoyed themselves at least as much as, if not more than, the Beliebers.

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