Black, White, and Huckleberry Finn: Re-Imagining the American Dream,
By Harry Mensh, Elaine Mensh
Click here to read the complete version of Black, White, and Huckleberry Finn and get more sources on this subject at Questia.com.
1 The Trespassers
I
On September 4, 1957, National Guard troops ringed Little Rock's Central High
School, which had been ordered to desegregate. They had been called up by the
governor, who predicted, or promised, that "blood would run in the streets"
if black children tried to enter. When eight of the children arrived, accompanied
by two black and two white clergymen, they were confronted by the troops and
a howling mob of men and women. The children were pushed and shoved, then informed
by a National Guard captain that on orders of the governor they would not be
allowed to enter. Escorted by the president of the State Conference of NAACP
branches, a black woman, the children proceeded to the offices of the United
States Attorney and the FBI. 1
A ninth child had not been informed that the students were to come as a group.
When she arrived alone, there were shouts from the mob, which now numbered about
five hundred: "They're here! The niggers are coming!""Get her!
Lynch her!" The student tried several times to pass through the troops;
on her last try, she was stopped with bayonets. The mob yelled, "No nigger
bitch is going to get in our school." With the troops standing by impassively,
someone screamed, "Get a rope and drag her over to this tree." A white-haired
woman fought her way through the mob, shouting: "Leave this child alone!
Why are you tormenting her? Six months from now you will hang your heads in
shame." The mob hollered, "Another nigger-lover. Get out of here!"
The woman, a professor at a Little Rock college, stayed with the child until
she could get her away on a bus. Joining with her to protect the child during
the wait was the New York Times education editor, who was threatened as a "dirty
New York Jew." In the next weeks, there were attacks on black men and women
and on their homes, as well as assaults on black and white journalists. Finally,
confronted with the Little Rock black community, which refused to surrender
to the authorities or the mob, and also challenged by national and world opinion,
the president acted to enforce the desegregation order; he federalized the Arkansas
National Guard and directed the secretary of defense to send in regular troops
as needed. 2
The incident at Little Rock had myriad consequences, explicit and tacit. One
of the latter appears to be an action taken by the New York Board of Education.
Just eight days after the confrontation at Central High, the New York Times
reported, in a front-page story, that the board had "quietly dropped"
Adventures of Huckleberry Finn from approved textbook lists for elementary and
junior high schools. The novel, the Times also related, could still be purchased
for school libraries and used as a textbook in high schools. The story linked
the board's action to objections from the NAACP. The NAACP denied having protested
to the board, but acknowledged that it "strongly objected to the 'racial
slurs' and 'belittling racial designations' in Mark Twain's works." 3
Although there is no evidence that the NAACP protested directly to the board,
objections from one or another source certainly reached the board. But the official
in charge of curriculum development stated that no objections had come to her
attention. She said the novel had been taken off the approved textbook list
because, as the Times put it, it was "not really a textbook." 4 In
giving this explanation, which was notable only for its surrealism (a book approved
as a textbook was removed for not being a textbook), New York City school officials
apparently believed they had converted a controversial move into an administrative
correction, and so could escape responsibility for their own action. 5
Click here to read the complete version of Black, White, and Huckleberry Finn and get more sources on this subject at Questia.com.
That there was little resemblance between an official story and the truth is
hardly news, but the extreme ineptitude revealed in this story raises questions.
Why was the board of education so utterly unprepared to offer even a remotely
credible, let alone factual, explanation for its action on Huck Finn? One answer
seems to be that school officials had been readied for the wrong battle, that
is, for a skirmish essentially won by the time Huck Finn became required reading.
II
"Once we understand how they arose, we no longer see literary canons as
objets trouvés washed up on the beach of history," observes Henry
Louis Gates, Jr. 6 The point is aptly illustrated by Huckleberry Finn's journey
into the schools' literary canon. The journey, which spanned more than two decades,
began with a study whose stated aim was to determine "the most effective
ways of utilizing" the novel in junior high schools. 7 The study was followed,
in 1931, by an edition published especially for junior high schools. In the
introduction, the editors--speaking with the quaintness then deemed appropriate
for addressing children--wrote: "In those early days Huck had but one friend
who dared openly to seek his company, . . . Tom Sawyer. But today how different!
. . . Then the parents tabooed Huck as a companion for their sons, but today
the most respected of mothers open their doors to welcome in this wanderer."
8
Since these lines descend from a supposedly more innocent time, it might seem
they really were intended for children. But not only is it quite illogical to
expect that children would be delighted by Huck's newfound respectability, it
also seems odd to contrast the novel's respectability in the eyes of real parents
with Huck's lack of it with fictional ones. Clearly, when the editors spoke
of Huck's ostracism in his "early days," they had in mind not Huck's
status in Tom Sawyer, but Huck Finn's expulsion from the Concord Public Library
in 1885 as the "veriest trash," "rough, coarse, and inelegant,"
9 unfit for "our pure-minded lads and lasses," 10 and the copycat
expulsions that followed.
The editors were Emily Fanning Barry, an English teacher at Teachers College,
and Herbert B. Bruner, who headed its Curriculum Construction Laboratory. Under
the aegis of the publisher, Harper & Brothers, they conducted the study,
which involved "thousands" of reports obtained from an unspecified
number of teachers and pupils. The editors describe the student participants
according to class, nationality, and location. Since they do not mention race,
it is quite safe to assume "children" meant "white children."
11
That this study undoubtedly included white children only does not mean the
editors consciously sought to exclude black children. Their apparent absence
from the study simply mirrored the exclusion of blacks from vast areas of American
life. And even if the editors had been amazingly ahead of their time and wondered
how black children might feel about Huck Finn, there would have been no reason
to pursue the daring thought. Certainly it would have had no value for the publisher,
given that black schools were likely to receive books handed down from white
ones.
While the study, the classroom edition, and growing support from educators
laid the groundwork for Huck Finn to become required reading, something more
was needed to bring the effort to fruition. This arrived in the form of essays
by Lionel Trilling ( 1948) and T. S. Eliot ( 1950) that provided the novel with
the "academic respectability and clout" that assured its entry into
the nation's classrooms, points out Peaches Henry. 12 Trilling, who launched
what Jonathan Arac calls the "hypercanonization" of Huck Finn, 13
spoke of it as "one of the world's great books and one of the central documents
of American culture." 14 Eliot termed it a "masterpiece." 15
Both, however, were concerned with defending it against the by now largely anachronistic
morality charge. Eliot made the point fairly subtly by stating he had not read
the book as a boy because his parents considered it unsuitable, while he also
spoke of things in it that would delight boys. The matter is, though, handled
quite explicitly by Trilling, who remarks that Huck is "really a very respectable
person." 16
Click here to read the complete version of Black, White, and Huckleberry Finn and get more sources on this subject at Questia.com.
2 Marginal Boy
I
On the fiftieth anniversary, in 1935, of Huckleberry Finn's publication, F.
Scott Fitzgerald wrote, "Huckleberry Finn took the first journey back.
He was the first to look back at the republic from the perspective of the west.
His eyes were the first eyes that ever looked at us objectively that were not
eyes from overseas. There were mountains at the frontier but he wanted more
than mountains to look at with his restive eyes--he wanted to find out about
men and how they lived together. And because he turned back we have him forever."
1 Fitzgerald's remarks, with their lyrically imaginative leap that Huck made
it to the territory and looked back, are clearly evocative. Certainly they evoke
an American dream. Not the new arrivals' dream of freedom awaiting at the American
shore, but a variant--the dream of Americans who had been here awhile, that
freedom (not to mention riches) lay ever further West. In other respects, what
the remarks evoke is not as clear as it might once have seemed. How, for instance,
should Fitzgerald's "us" be interpreted? Inclusively, or exclusively?
Were the first eyes that looked at us objectively actually from overseas? And
what of Fitzgerald's belief in Huck's objectivity?
If Huck is objective (as other commentators have also held), 2 he speaks faithfully
for an author who can be unequivocally relied upon. In fact, though, Huckleberry
Finn presents an author-narrator relationship of quite a different kind. That
Twain's perspective is antislavery and Huck's is not, and that the concept of
racial prejudice, meaningful to Twain, would be meaningless to Huck--these preclude
any possibility of a consistently objective narrator. And, too, while Twain
often purposefully clouded Huck's "restive eyes" with ideas received
from the society Huck lived in, there is, again, the question of the degree
to which Twain's own eyes, clear and penetrating as they could be, were not
also thus shadowed.
Fitzgerald's remarks also illustrate the role of commentators in creating a
legendary Huck. Although some of the myths around Huck Finn have not traveled
beyond critical circles (for instance, Trilling's myth of Huck as "the
servant of the river-god," who "comes very close to being aware of
the divine nature of the being he serves"), 3 others occupy a favored place
in the national consciousness. One of these is the myth of Huck-the-rebel. It
is not that this myth is entirely devoid of truth, but rather that it favors
lesser truths over greater ones.
The distinction between Huck as legendary rebel and the Huck that Twain created
can already be detected in The Adventures of Tom Sawyer. There Twain describes
Huck as a "romantic outcast," but even this phrase does not express
Twain's own attitude. It is instead that of the properly-brought-up village
boys: "everything that goes to make life precious, [Huck] had. So thought
every harassed, hampered, respectable boy in St. Petersburg." 4 These boys
see a Huck who can come and go as he pleases, is not expected to attend school
or church, is free to swear and to fight if he feels like it. Twain, though,
allows us to see that it is the boys' vision of Huck that is romantic, not Huck's
life: if he can do as he pleases, it is only because his father is the town
drunk and his mother dead. So it is not surprising to learn, in Huckleberry
Finn, that Huck is prone to melancholy, is sometimes so sad he almost wants
to die.
If most readers of Tom Sawyer, despite Twain's signals to the contrary, see
Huck as a rebel, one explanation may be that they have allowed Huck's deeds
to eclipse his motives. Take, for instance, Huck's first violation of a taboo
in white-black relations. In a passage in Tom Sawyer that prefigures Huck's
relationship with Jim, Tom asks the homeless boy where he will sleep. Huck replies:
"In Ben Rogers's hayloft. He lets me, and so does his pap's nigger man,
Uncle Jake. I tote water for Uncle Jake whenever he wants me to, and any time
I ask him he gives me a little something to eat if he can spare it. That's a
mighty good nigger, Tom. He likes me, becuz I don't ever act as if I was above
him. Sometimes I've set right down and eat with him. But you needn't tell that.
A body's got to do things when he's awful hungry he wouldn't want to do as a
steady thing." 5 On the one hand, Huck--whom Twain described as a boy with
a "sound heart and a deformed conscience"--is humanly appreciative
of help from Uncle Jake and reciprocates by giving Uncle Jake what help he can.
He is also perceptive enough to recognize that the black man wouldn't like him
if he acted as if he were above him. Yet Huck does consider himself above Uncle
Jake--not as an objective matter of social station, but because the man is black
and Huck is white. (Although Huck never doubts that Uncle Jake, who remains
offstage, is taken in by his pretense, a reader may wonder whether an Uncle
Jake would not be wary of a white boy who, even in his innermost thoughts, cordons
him off as "nigger.")
It was not unusual for the young sons of slaveholders to have a relationship
with a slave (traditionally known as "Uncle") in which the man would
tell the boy stories ( Twain himself had such a connection with an "Uncle
Dan'l"). Where these boys would go to a black man in search of diversion,
Huck goes to Uncle Jake out of need. As a result, the white boy's role is determined
by the black man rather than the other way around. But the need that drives
Huck to Uncle Jake is also a source of shame, making him do something he "wouldn't
want to do as a steady thing." Still, it does not seem that Huck would
have any objection to sitting down to eat with Uncle Jake were it not for a
mind's eye that looks on censoriously. No incident could better suggest the
vast social and emotional distance that separated even the poorest whites from
the blacks than this one, which finds Huck--a boy who dresses in rags and sleeps
in barrels, whose reputation is so disgraceful that the schoolmaster punishes
Tom Sawyer for talking to him--desperate about what people will think if they
find out he ate with a black man. 6
Click here to read the complete version of Black, White, and Huckleberry Finn and get more sources on this subject at Questia.com.
