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FURTHER READING CRITICAL WORKS
Blair, Walter. Mark Twain & Huck Finn. Berkeley and Los Angeles: University of California Press, 1960. Fine study of the sources of Twain's characters and art.
_____. "On the Structure of Tom Sawyer," Modern Philology 37, No. 1 (August 1939). Key analysis.
Cox, James M. Mark Twain: The Fate of Humor. Princeton: Princeton University Press, 1966. Explores Twain's contribution to American humor.
DeVoto, Bernard. Mark Twain at Work. Cambridge, Massachusetts: Harvard University Press, 1942. Explains Twain's method of composition.
Elliott, George P. "Afterword," The Adventures of Tom Sawyer. New York: Signet/New American Library, 1959. A view by a critic who finds the novel lightweight.
Geismar, Maxwell. Mark Twain: An American Prophet. New York: McGraw-Hill, 1970. An admiring critical portrait of Twain as a revolutionary spirit.
Kaplan, Justin. Mr. Clemens and Mark Twain: A Biography. New York: Simon & Schuster, 1966. Explores the way Twain fashioned a "second identity" from his thirties until his death.
Kazin, Alfred. "Afterword," The Adventures of Tom Sawyer. New York: Bantam, 1981. Discusses the way Twain's memories of boyhood were "touched with dread."
Miller, Robert Keith. Mark Twain. New York: Frederick Ungar, 1983. Excellent introduction to Twain's life and work, synthesizes most recent Twain scholarship.
Rogers, Franklin R. Mark Twain's Burlesque Patterns. Dallas: Southern Methodist University Press, 1960. A study of Twain's takeoffs on literary conventions.
Stone, Albert E., Jr. The Innocent Eye. New Haven: Yale University Press, 1961. Twain's use of "innocent" narrators and protagonists as a means of exposing folly.
Wecter, Dixon. Sam Clemens of Hannibal. Boston: Houghton Mifflin, 1952. A study of Twain's roots.
Wiggins, Robert A. Mark Twain, Jackleg Novelist. Seattle: University of Washington Press, 1964. Twain and the frontier tradition.