The Autobiography of Mark Twain Mark Twain (best beach reads .TXT) 📖

“He is not afraid of this whole nation of eighty millions when his duty requires him to do an unpopular thing.”

Twenty-five years have gone by since then, and through manifold experiences I have learned that no courage is absolutely perfect; that there is always someone who is able to modify his pluck.

Another incident of that visit was this: in trading remarks concerning our ages I confessed to forty-two and Hay to forty. Then he asked if I had begun to write my autobiography, and I said I hadn’t. He said that I ought to begin at once and that I had already lost two years. Then he said in substance this:

“At forty a man reaches the top of the hill of life and starts down on the sunset side. The ordinary man, the average man, not to particularize too closely and say the commonplace man, has at that age succeeded or failed; in either case he has lived all of his life that is likely to be worth recording; also in either case the life lived is worth setting down, and cannot fail to be interesting if he comes as near to telling the truth about himself as he can. And he will tell the truth in spite of himself, for his facts and his fictions will work loyally together for the protection of the reader; each fact and each fiction will be a dab of paint, each will fall in its right place, and together they will paint his portrait; not the portrait he thinks they are painting, but his real portrait, the inside of him, the soul of him, his character. Without intending to lie, he will lie all the time; not bluntly, consciously, not dully unconsciously, but half-consciously⁠—consciousness in twilight; a soft and gentle and merciful twilight which makes his general form comely, with his virtuous prominences and projections discernible and his ungracious ones in shadow. His truths will be recognizable as truths, his modifications of facts which would tell against him will go for nothing, the reader will see the fact through the film and know his man. There is a subtle devilish something or other about autobiographical composition that defeats all the writer’s attempts to paint his portrait his way.”

Hay meant that he and I were ordinary average commonplace people, and I did not resent my share of the verdict, but nursed my wound in silence. His idea that we had finished our work in life, passed the summit, and were westward bound downhill, with me two years ahead of him and neither of us with anything further to do as benefactors to mankind, was all a mistake. I had written four books then, possibly five. I have been drowning the world in literary wisdom ever since, volume after volume; he has been the historian of Mr. Lincoln, and his book will never perish; he has been ambassador, brilliant orator, competent and admirable Secretary of State, and would be President next year if we were a properly honest and grateful nation instead of an ungrateful one, a nation which has usually not been willing to have a Chief Magistrate of gold when it could get one of tin.

I had lost two years, but I resolved to make up that loss. I resolved to begin my autobiography at once. I did begin it, but the resolve melted away and disappeared in a week and I threw my beginning away. Since then, about every three or four years I have made other beginnings and thrown them away. Once I tried the experiment of a diary, intending to inflate that into an autobiography when its accumulation should furnish enough material, but that experiment lasted only a week; it took me half of every night to set down the history of the day, and at the week’s end I did not like the result.

Within the last eight or ten years I have made several attempts to do the autobiography in one way or another with a pen, but the result was not satisfactory; it was too literary. With the pen in one’s hand, narrative is a difficult art; narrative should flow as flows the brook down through the hills and the leafy woodlands, its course changed by every boulder it comes across and by every grass-clad gravelly spur that projects into its path; its surface broken, but its course not stayed by rocks and gravel on the bottom in the shoal places; a brook that never goes straight for a minute, but goes, and goes briskly, sometimes ungrammatically, and sometimes fetching a horseshoe three-quarters of a mile around, and at the end of the circuit flowing within a yard of the path it traversed an hour before; but always going, and always following at least one law, always loyal to that law, the law of narrative, which has no law. Nothing to do but make the trip; the how of it is not important, so that the trip is made.

With a pen in the hand the narrative stream is a canal; it moves slowly, smoothly, decorously, sleepily, it has no blemish except that it is all blemish. It is too literary, too prim, too nice; the gait and style and movement are not suited to narrative. That canal stream is always reflecting; it is its nature, it can’t help it. Its slick shiny surface is interested in everything it passes along the banks⁠—cows, foliage, flowers, everything. And so it wastes a lot of time in reflections.

Florence, April, 1904

I will begin with a note upon the dedication. I wrote the book in the months of March and April, 1868, in San Francisco. It was published in August, 1869. Three years afterward Mr. Goodman of Virginia City, Nevada, on whose newspaper I had served ten years before and of whom I have had much to say in the book called Roughing It⁠—I seem to be overloading the sentence and I apologize⁠—came