further in "The American Claimant" and in "Pudd'nhead Wilson" as it stands. They are, I say, like nightmares, these books: full of passionate conviction that turns into a burlesque of itself, angry satire, hysterical humor. They are triple-headed chimeras, in short, that leave the reader's mind in tumult and dismay. The censor has so far relaxed its hold that the unconscious has risen up to the surface: the battle of the two Mark Twains takes place almost in the open, under our very eyes. Glance now, among these dreams, at a simple example of "wish-fulfillment." When Captain Stormfield arrives in heaven, he is surprised to find that all sorts of people are esteemed among the celestials who have had no esteem at all on earth. Among them is Edward J. Billings of Tennessee. He was a poet during his lifetime, but the Tennessee village folk scoffed at him; they would have none of him, they made cruel sport of him. In heaven things are different; there the celestials recognize the divinity of his spirit, and in token of this Shakespeare and Homer walk backward before him. Here, as we see, Mark Twain is unconsciously describing the actual fate of his own spirit and that ample other fate his spirit desires. It is the story of Cinderella, the despised step-sister who is vindicated by the prince's favor, rewritten in terms personal to the author. We note the significant parallel that the Tennessee village where the unappreciated poet lived to the scornful amusement of his neighbors is a duplicate of the village in which Mark Twain had grown up, the milieu of Huck Finn and Tom Sawyer.