A01=Ann M Ryan
American Gothic
Author_Ann M Ryan
Black History
Category=DS
Category=DSBF
Category=DSK
Category=JBSL
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Ghost Story
Mark Twain
Masculinity
Racism
Product details
- ISBN 9780826223425
- Weight: 594g
- Dimensions: 152 x 229mm
- Publication Date: 28 Nov 2025
- Publisher: University of Missouri Press
- Publication City/Country: US
- Product Form: Hardback
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In his autobiography, Mark Twain confesses that “from the cradle up I have been like the rest of the race—never quite sane in the night.” Of all the memories and fears that disturbed Twain’s peace of mind, none are more intractable than those associated with White fathers, Black men, the histories they reflect, and the future they promise. The Ghosts of Mark Twain: A Study of Manhood, Race, and the Gothic Imagination investigates these tense intersections in Twain’s life and work.
Ann M. Ryan maps Twain’s resistance to ideals of white masculinity and his occasional capitulation to them. While Twain reflects upon the history of White men—including the intimate memory of his father’s failures and abuses—he also imagines a future in which Black men will gain an authentic voice and agency. Preferring the messy humanity of Mark Twain, Ryan calls into question the “St. Mark” school of criticism, which glosses—among other themes—Twain’s uneasy relation to Black culture. In unpublished works and excised material, Twain conjures memories and specters of Black men that are far from comforting. No longer “friends and allies” like fictive Ol’ Uncle Dan’l; these Black ghosts will settle for revenge if they can’t get justice.
Some of the works considered in The Ghosts of Mark Twain are not widely known: “Which Was It?,” “The United States of Lyncherdom,” No. 44: The Mysterious Stranger, and the Morgan manuscript of Pudd’nhead Wilson. Written into the record of these fragments is Twain’s desire to be a different kind of White man, just as their incomplete nature demonstrates how often he stumbled in that effort. When Jim describes the White and Black spirits hovering over Pap Finn, Twain reveals his own conflicted position in America’s racial history. And as Jim declares to Huck, “A body can’t tell yit which one gwyne to fetch him at de las.’”
Ann M. Ryan maps Twain’s resistance to ideals of white masculinity and his occasional capitulation to them. While Twain reflects upon the history of White men—including the intimate memory of his father’s failures and abuses—he also imagines a future in which Black men will gain an authentic voice and agency. Preferring the messy humanity of Mark Twain, Ryan calls into question the “St. Mark” school of criticism, which glosses—among other themes—Twain’s uneasy relation to Black culture. In unpublished works and excised material, Twain conjures memories and specters of Black men that are far from comforting. No longer “friends and allies” like fictive Ol’ Uncle Dan’l; these Black ghosts will settle for revenge if they can’t get justice.
Some of the works considered in The Ghosts of Mark Twain are not widely known: “Which Was It?,” “The United States of Lyncherdom,” No. 44: The Mysterious Stranger, and the Morgan manuscript of Pudd’nhead Wilson. Written into the record of these fragments is Twain’s desire to be a different kind of White man, just as their incomplete nature demonstrates how often he stumbled in that effort. When Jim describes the White and Black spirits hovering over Pap Finn, Twain reveals his own conflicted position in America’s racial history. And as Jim declares to Huck, “A body can’t tell yit which one gwyne to fetch him at de las.’”
Ann M. Ryan is Professor of American Literature at Le Moyne College, past president of the Mark Twain Circle, the former editor of The Mark Twain Annual, and co-editor of the volume Cosmopolitan Twain, published by the University of Missouri Press. Her research focuses primarily on issues of race and racism in Mark Twain’s life, his writings, and in the society that produced him. She also writes on the intersections of the gothic and humor in American culture.
