Did MarkTwain bring down the
temple on Scott’s shoulders?
In Walter Scott’s Ivanhoe (1820), the Grand Master of the Order of the
Templars, determined to purify their Preceptory of Templestowe, ﬁgures
the besotted knight Brian de Bois Guilbert as a Samson entrapped by the
sorceries of the Jewess Rebecca-Delilah:
with [the] aid [of the saints and angels] will we counteract the spells and
charms with which our brother is entwined as in a net. He shall burst the
bands of this Dalilah, as Samson burst the two new cords with which the
This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
outrage about King Leopold’s exploits in the Congo. In
King Leopold’s Soliloquy (1905), MarkTwain has his
fictional King Leopold curse ‘the incorruptible Kodak’ as ‘the most
powerful enemy that has confronted us [and]... the only witness I have encountered in my
long experience that I couldn’t bribe’ (cited in Twomey, ‘Framing
Both books under review here explicitly situate themselves at the intersection of
scholarship in media studies and visual culture and the sub
level, involving speciﬁc and intimate knowledge of one
writer by another.
Two contributors are particularly concerned with Scottish–American
literary relations. Susan Manning’s interest is in the power of a profoundly antagonistic relationship, that between MarkTwain and Walter
Scott. She asks questions which extend what is usually conceived of as
Twain’s limited, parodic engagement between Scott’s Waverley novels and
his own work, in particular, A Connecticut Yankee in King Arthur’s Court.
In so doing she also, in her words, aims ‘to complicate our current,
Queen Victoria, photography and film at the fin de siècle
second, however, was the appearance, after long seclusion, of the
sovereign at the centre of this mighty web. The contrast between
Victoria’s small, elderly figure, in simple widow’s clothing, and the
vast spectacle surrounding her struck many spectators at the time. One
observer was the American writer MarkTwain, hired for the occasion by
the New York Journal , who offered an intriguing comparison
edginess that took place throughout my research as a way to think about what that politics looks like on the ground.
1 For example, see Chapter 29 of MarkTwain’s The Innocents Abroad ( 2010  ).
2 The Missing Migrants Project has been monitoring the level of fatalities, as a result of migration, by region. In 2019, the central Mediterranean remained the most perilous crossing point for migrants in the Mediterranean region.
3 I have tried on a number of occasions to discover the name of the victim through my contacts in anti-racism in Napoli. It
Representatives and Senators
Reader, suppose you were an idiot. And suppose you were a
member of Congress. But I repeat myself. (MarkTwain)
Once the November elections are over, the newly elected
Representatives and Senators gather the following January
for the start of the new Congress. Out of the thousands of
hopefuls who started the arduous process of campaigning in
the primary and general elections, only 535 people sit as
members of Congress for the next two years; 435 in the
House and 100 in the Senate. For most of those members, this
will not be a new
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley
writer’s interest in Scott? True, any well-read person would have known
Scott’s novels: ‘To be alive and literate in the nineteenth century was to
have been aﬀected in some way by the Waverley novels’.2 Elsewhere in this
volume (Chapter 1) Susan Manning discusses MarkTwain’s vexed relation
to Scott; the connection between Scott and Jewett is also a complex one.
At the end of her long career charting the social, economic and emotional complexities of contemporary New England through her ﬁctions
of small local communities, Jewett turned to write ‘something
Welland, the Professor of American Literature, author of books on
Arthur Miller and MarkTwain, founder and editor of The Journal of
American Studies, agreed to act in his place and pursue a policy of
‘Steady as she goes’, although it was hardly possible to issue no orders
at all. As a retirement eulogy of Professor Welland later put it, ‘To
hold the fort whilst awaiting a new commander is a task that has little to recommend it. There is little chance to make a major success:
there is much opportunity to promote a disaster. Moreover, the storm
clouds which were to lead
The island as collective in the works of Louis Becke
his contacts Rudyard Kipling, Sir Arthur Conan Doyle, and MarkTwain. Yet despite his position among the literary elite of his day, Becke’s work remains largely out of print. Today, Becke’s stories are rarely read or taught in classrooms, appearing only in a few anthologies (usually of ‘South Seas Stories’). So why do his contemporaries in the field of short fiction – Joseph Conrad, Rudyard Kipling, and Robert Louis Stevenson – remain a vital part of the English literary canon while Becke has quietly slipped into obscurity?
Part of the answer lies in Becke