The £1,000,000 bank-note, and other new storiesTwain, Mark
General
The £1,000,000 bank-note, and other new stories
Twain, Mark
American essays -- 19th century; American fiction -- 19th century; Humorous stories, American
There is a strange sort of originality about McClintock; he imitates
other people’s styles, but nobody can imitate his, not even an idiot.
Other people can be windy, but McClintock blows a gale; other people can
blubber sentiment, but McClintock spews it; other people can mishandle
metaphors, but only McClintock knows how to make a business of it.
McClintock is always McClintock, he is always consistent, his style is
always his own style. He does not make the mistake of being relevant on
one page and irrelevant on another; he is irrelevant on all of them. He
does not make the mistake of being lucid in one place and obscure in
another; he is obscure all the time. He does not make the mistake of
slipping in a name here and there that is out of character with his
work; he always uses names that exactly and fantastically fit his
lunatics. In the matter of undeviating consistency he stands alone in
authorship. It is this that makes his style unique, and entitles it to a
name of its own—McClintockian. It is this that protects it from being
mistaken for anybody else’s.
Uncredited quotations from other writers often leave a reader in doubt
as to their authorship, but McClintock is safe from that accident; an
uncredited quotation from him would always be recognisable. When a boy
nineteen years old, who had just been admitted to the bar, says, ‘I
trust, sir, like the Eagle, I shall look down from lofty rocks upon the
dwellings of man,’ we know who is speaking through that boy; we should
recognise that note anywhere. There be myriads of instruments in this
world’s literary orchestra, and a multitudinous confusion of sounds that
they make, wherein fiddles are drowned, and guitars smothered, and one
sort of drum mistaken for another sort; but whensoever the brazen note
of the McClintockian trombone breaks through that fog of music, that
note is recognisable, and about it there can be no blur of doubt.
The novel now arrives at the point where the Major goes home to see his
father. When McClintock wrote this interview, he probably believed it
was pathetic.
Public-domain text, read in full here on John Shaqi.
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