and mangled and mutilated those people beyond the dreams of avarice. 57
Only one such Florentine Dictation is known to survive: Clemens certainly “flayed” the Countess Massiglia in “Villa di Quarto.” We can only guess who the “deserving” men were by considering other evidence. For example, in a letter of 29 January 1904 Clemens vented his anger toward Henry A. Butters, head of the American Plasmon Company, whom he held responsible for his investment losses: “As soon as I get back we will pull Butters into Court, & I guess we can jail him. . . . He occupies space enough in my Autobiography to pay back all he & his pimp have robbed me of. ” 58 But no such text from 1904 or earlier survives, and Butters is mentioned only in passing in the later Autobiographical Dictations. (On 31 October 1908, for example, Clemens described him as “easily the meanest white man, and the most degraded in spirit and contemptible in character I have ever known.”) There are others who might have received harsh treatment in now-lost dictations from 1904 whose portraits were then “done over” between January and August 1906. Clemens scattered a few sarcastic remarks about Charles L. Webster in the early 1906 dictations, then excoriated him at length in the one for 29 May 1906. Other candidates include Daniel Whitford, Clemens’s attorney; James W. Paige, inventor of the failed typesetter; and of course Bret Harte. 59
The Copyright Extension Gambit (1904 to 1909)
When Olivia died suddenly on 5 June 1904, Clemens’s interest in his autobiography quite naturally evaporated, and in the next year and a half he wrote only one short sketch for it, “Anecdote of Jean.” But before Olivia died, his new enthusiasm for dictating the autobiography gave rise to a scheme to provide income for the family he thought would survive him (he was then sixty-eight). In the same January letter to Howells in which he enthused about dictation he described this new idea: “If I live two years this Auto will cover many volumes, but they will not be published independently, but only as
notes
(copyrightable) to my existing books. Their purpose is, to add 28 years to the life of the existing books. I think the notes will add 50% of matter to each book, & be some shades more readable than the book itself.” 60
This notion was still alive almost a year after Clemens had begun his dictations to JosephineHobby in January 1906. In December of that year he spoke of it to a reporter, who then summarized it in the New York
Times:
As soon as the copyright expires on one of his books Mark Twain or his executors will apply for a new copyright on the book, with a portion of the autobiography run as a footnote. For example, when the copyright on “Tom Sawyer” expires, a new edition of that book will be published. . . . About one third of this new edition of “Tom Sawyer” will be autobiography, separated from the old text only by the rules or lines. The same course will be followed with each book, as the copyright expires.
So far as possible the part of the autobiography will be germane to the book in which it appears. . . .
He is confirmed in this by the experience of Sir Walter Scott, from whom he got the germ of his idea. Scott kept his copyrights alive by publishing new editions with commentaries. . . . He believes his scheme will insure a copyright of eighty-four years instead of forty-two, and, as he said the other day: “The children are all I am interested in; let the grandchildren look out for themselves. 61
It is difficult to know just how serious Clemens was about this scheme because it was never put to the test. On 24 December 1909, in “Closing Words of My Autobiography,” he explained that the
reason that moved me was a desire to save my copyrights from extinction, so that Jean and Clara would always have a good livelihood from my books after my death. . . .
That tedious long labor was wasted. Last March Congress added fourteen years
Only one such Florentine Dictation is known to survive: Clemens certainly “flayed” the Countess Massiglia in “Villa di Quarto.” We can only guess who the “deserving” men were by considering other evidence. For example, in a letter of 29 January 1904 Clemens vented his anger toward Henry A. Butters, head of the American Plasmon Company, whom he held responsible for his investment losses: “As soon as I get back we will pull Butters into Court, & I guess we can jail him. . . . He occupies space enough in my Autobiography to pay back all he & his pimp have robbed me of. ” 58 But no such text from 1904 or earlier survives, and Butters is mentioned only in passing in the later Autobiographical Dictations. (On 31 October 1908, for example, Clemens described him as “easily the meanest white man, and the most degraded in spirit and contemptible in character I have ever known.”) There are others who might have received harsh treatment in now-lost dictations from 1904 whose portraits were then “done over” between January and August 1906. Clemens scattered a few sarcastic remarks about Charles L. Webster in the early 1906 dictations, then excoriated him at length in the one for 29 May 1906. Other candidates include Daniel Whitford, Clemens’s attorney; James W. Paige, inventor of the failed typesetter; and of course Bret Harte. 59
The Copyright Extension Gambit (1904 to 1909)
When Olivia died suddenly on 5 June 1904, Clemens’s interest in his autobiography quite naturally evaporated, and in the next year and a half he wrote only one short sketch for it, “Anecdote of Jean.” But before Olivia died, his new enthusiasm for dictating the autobiography gave rise to a scheme to provide income for the family he thought would survive him (he was then sixty-eight). In the same January letter to Howells in which he enthused about dictation he described this new idea: “If I live two years this Auto will cover many volumes, but they will not be published independently, but only as
notes
(copyrightable) to my existing books. Their purpose is, to add 28 years to the life of the existing books. I think the notes will add 50% of matter to each book, & be some shades more readable than the book itself.” 60
This notion was still alive almost a year after Clemens had begun his dictations to JosephineHobby in January 1906. In December of that year he spoke of it to a reporter, who then summarized it in the New York
Times:
As soon as the copyright expires on one of his books Mark Twain or his executors will apply for a new copyright on the book, with a portion of the autobiography run as a footnote. For example, when the copyright on “Tom Sawyer” expires, a new edition of that book will be published. . . . About one third of this new edition of “Tom Sawyer” will be autobiography, separated from the old text only by the rules or lines. The same course will be followed with each book, as the copyright expires.
So far as possible the part of the autobiography will be germane to the book in which it appears. . . .
He is confirmed in this by the experience of Sir Walter Scott, from whom he got the germ of his idea. Scott kept his copyrights alive by publishing new editions with commentaries. . . . He believes his scheme will insure a copyright of eighty-four years instead of forty-two, and, as he said the other day: “The children are all I am interested in; let the grandchildren look out for themselves. 61
It is difficult to know just how serious Clemens was about this scheme because it was never put to the test. On 24 December 1909, in “Closing Words of My Autobiography,” he explained that the
reason that moved me was a desire to save my copyrights from extinction, so that Jean and Clara would always have a good livelihood from my books after my death. . . .
That tedious long labor was wasted. Last March Congress added fourteen years
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