Saturday, May 6, 2017

Sam Clemens in Eden - Twain's relationship with Heaven (Week 11)


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Twain was a man often consumed by thoughts of the future or ideas of seeing into what was to come. A skeptical man, Twain was, for a time, interested in spirituality, though these fascinations faded quickly after the loss of his young firstborn son. In class, we read a selection of Twain's writings that were centered on ideas of Heaven. In The Bible According to Mark Twain, we encountered an alternative account of happenings within the Garden of Eden. In this account, Adam is portrayed as a bumbling presence, while Eve has more complicated, intuitive feelings. These writings portray a deeper mistrust with religion as a whole – as a man who had lost his faith with the institution of religion, this work displays an inherent distaste for traditional presentations of Biblical stories and provides an almost parodic view of the classic creation story.


The addition of strict gender roles within this perspective adds greatly to the overall critique of Christianity. The story begins with Adam’s point of view. Adam takes on an inept persona, and is highly annoyed by Eve. When Eve’s perspective is shown, however, the meanings of the story shift the way readers interpret masculinity and femininity.

What is especially interesting about these roles is the pervasive idea of performativity – during one of our class sessions, my classmates performed dramatic readings with selected scenes from the Garden of Eden portion of Twain’s writings. Reading the words is one experience, but being able to see an even further dramatized interpretation of the interactions between Adam and Eve truly shows off the performative nature of such gender routines. What is especially fascinating is how easily we all slipped into these outdated systems of interaction – though we live in a modern era, supposedly free of gender based relations and specific modes of behavior, it still seemed natural that Adam and Eve would potentially interact in a gender-motivated and biased manner, which was satirically portrayed by our short performances through the theatrical adaptations of Twain’s writings. That Twain felt that he was able to express his doubts through satirical writing is significant because Twain faced censorship in the time he was writing as well as with his works that are still utilized in public school systems today, such as the infamous The Adventures of Huckleberry Finn.

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Izaak van Oosten - The Garden of Eden


Since our class has been discussing Twain’s thoughts of religion and skepticism of afterlife, a concept I have been considering has been what Twain’s ideal Heaven might look like. Surely, there would be plenty of drinking, smoking, and swearing; he would be surrounded by his often scattered family once again; he would be able to lecture and entertain for pleasure rather than through an obligatory and exhausting lecture circuit; he would possess his lavish land holdings and worldly items without the issues of debt. Twain once said “If I cannot swear in heaven I shall not stay there,” and as readers we can all hope that Heaven has a smoking section for the notorious Mr. Twain.


A Brief Interruption of Mark Twain - The Birth of Eunice the Chicken (Week 15)

          Though this is specifically a Mark Twain blog, it was formed for the purpose of fulfilling course requirements for Dr. Beringer’s ENG 405 course. However, this week my class was told that we could write a reflection of a comics workshop rather than a traditional blog post, and I have decided to go that route.
A sketch taken from Chris Garrison's website - saltyham.org - depicts a character from his strip "Our Heroes", which ran for 64 weeks.
            I attended the Comic Creation Workshop, led by local Birmingham artist Chris Garrison. The focus of the workshop was to illustrate the full process of comic creation, and to talk about both the brainstorming and the actual planning and drawing stages. Dr. Beringer introduced Garrison as a man of many talents, with career highlights including a range of creative endeavors spanning from writing to film directing. Garrison opened up the workshop by having attendees help brainstorm the exposition of the piece – we were asked to shout out types of animals, favorite names, and near death experiences in order to provide audience based inspiration. Our group decided that we would focus on an otter and a chicken in a lover’s feud, with a prank and a daring zip line escape. 
          This workshop was extremely interesting to witness, as I never truly realized how many steps go in to the creation of a comic. Understandably, there is a lot of planning and this takes the form of many different stages. So many factors have to be considered in order to have an idea of a layout. Garrison first wrote out his dialogue, and then separated these into panels. After this, he considered which panels should go where on the page, and how large they should be – naturally, more climactic scenes have larger panels, and something else to consider is what all needs to be in a frame in order for a panel to make sense (for example, when drawing the zip line scene, Garrison pointed out that the shot would have to be drawn from a very distant perspective in order to get the house and power pole in the panel). After all of this careful planning was finished, Garrison took another moment to sketch a quick layout of panels to make sure that they lined up with one another. Finally, after all of these necessary steps, we were able to witness Garrison sketching the actual comic. This was incredibly exciting to watch – Garrison is talented at drawing cute animal figures, and it was intriguing to watch an idea that we had just conceived 40 minutes ago together come to life. The session unfortunately ran out of time, so we were unable to see any more than a rough sketch, but at that point it was obvious what further steps needed to be taken – detailed drawing and polishing of the work – but the bulk of the effort was complete.
            Though I am not myself a comic artist, I am an appreciator or comics and I enjoyed being able to watch someone work and bring an idea to life in front of our group by means of a document camera. This workshop was entertaining and I feel that though I thought I already understood the process of comic creation, I learned a great deal about how intricate it truly is and how important planning can be in order to create a polished product. It makes me want to revisit my favorite comics and truly appreciate how much went in to a brief moment of entertainment.


The Transgressive Twain and the Pleasures of Profanity (Week 14)


Mark Twain's 1879 after-dinner speech entitled "The Science of Onanism" is a remnant of Twain's writings from his artist and writer-exclusive "Stomach Club." The piece is a hilarious, cheeky collection of observations regarding "self-abuse," and illuminates a decidedly bawdier side of the beloved writer. The speech examines the perils and pleasures of the taboo act, and does so in a lighthearted and wickedly funny tone.

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Twain had a now well-documented struggle with his image - from his rebellious youth to his conservative courtship, Twain assumed many personas throughout his lifetime. Twain’s relationship with the profane and with free lifestyles began when he was young – a child obsessed with steamboat pilots, the coarse habits of those he admired rubbed off on him. An avid smoker and swearer, it was only when he became enamored with Livy that he realized that he must present an alternative image of himself in order to win over not just Livy, but her family. He succeeded in this endeavor, but there existed always a part of his old self, filled with the same sensibilities of humor as his younger incarnation.

This speech at the Stomach Club hearkens back to those old ways. Twain once said "Under certain circumstances, urgent circumstances, desperate circumstances, profanity provides a relief denied even to prayer." Twain utilized swearing as an outlet for both frustration and entertaining artistic expression. It is apparent, however, that though obviously very entertaining, Twain would grow to regret his lapse and wish to be disassociated with the writings. This regret is interesting to examine within the modern controversial contexts of many of his children’s works, such as the infamously provocative The Adventures of Huckleberry Finn. Twain was proud of his talents and found joy in his repartee with his friends, but ultimately exercised elements of self-censorship toward his own writing.  It seems that much of Twain’s work was an exercise in how far he could take his humor, and with this piece it appears that Twain found his limits. 
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The work is undoubtedly very funny, and the class session regarding “The Science of Onanism” was a particularly raucous class session. The fascinating part about this reading was not simply the actual content of what Twain wrote, but the knowledge of the context followed by an actual performance of the piece by Dr. Beringer. A part of this course that has fascinated me has been the performativity of Twain – his writings, in many cases, are truly meant to be heard aloud. What I find astonishing about this piece is not just the fact that the subject matter is raunchy and hysterical, but just how well it lends itself to spoken performance. I had read the piece before the class session, and though I giggled a few times, it was nothing compared to the full room filled with first nervous chuckles, then full-out cackles in some cases. Twain’s mastery of profanity is truly an art – he is able to craft a piece that strikes the right balance of inappropriate with the goofiness of air that allows for comfortable enjoyment of such a topic as that “majestic diversion.”

Image taken from: http://www.huffingtonpost.com/2014/11/30/mark-twain-trivia_n_6220484.html