The Colonel Mulberry Sellers here reintroduced to the public is the same person who appeared as Eschol Sellers in the first edition of the tale entitled The Gilded Age years ago, and as Beriah Sellers in the subsequent editions of the same book, and finally as Mulberry Sellers in the drama played afterwards by John T. Raymond. The name was changed ...
The Colonel Mulberry Sellers here reintroduced to the public is the same person who appeared as Eschol Sellers in the first edition of the tale entitled The Gilded Age years ago, and as Beriah Sellers in the subsequent editions of the same book, and finally as Mulberry Sellers in the drama played afterwards by John T. Raymond. The name was changed from Eschol to Beriah to accommodate an Eschol Sellers who rose up out of the vasty deeps of uncharted space and preferred his request- backed by threat of a libel suit-then went his way appeased, and came no more. In the play Beriah had to be dropped to satisfy another member of the race, and Mulberry was substituted in the hope that the objectors would be tired by that time and let it pass unchallenged. So far it has occupied the field in peace; therefore we chance it again, feeling reasonably safe, this time, under shelter of ihe statute of limitations. Mark Twain.
Fair. Good copy for reading, may have heavy page wear with writing textual notes highlighting or be an heavily used ex library copy with library markings, stickers or stamps. Dust jacket or accessories may not be included.
'The American Claimant' is a preposterous sitcom from the American master of preposterosity, Mark Twain.
Col. Mulberry Sellers, a nutbag, claims he is rightful heir to the seat of an English earl. He threatens to sue the present earl to regain his title and lands.
The earl's son, meanwhile, has 'modern' ideas about the stigma of inherited wealth and position, says he wants to throw it all up. The silly young man goes to America to renounce his title, give his inheritance to the American claimant and make his own way in the world.
The situation, already grossly unlikely, is then resolved by a grossly unlikely train of coincidences: The young earl falls in love with the American claimant's beautiful, featherbrained daughter. His father, the stern and stolid present earl, approves. The nutbag American claimant approves. The young couple marry and are deliriously happy. Then the nutbag claimant suddenly finds himself vastly and independently wealthy. Hence he loses all interest in the English title and lands. Like a 19th century Al Gore, he sets out instead to buy a controlling interest in global climates and in the ownership of Siberia, Greenland, Iceland, and all of the sunspots on Sol.
So it is that 'The American Claimant' is not for serious readers nor is it for sane people generally. It's a romp for pathologically simple-minded people who are able to suspend all disbelief and laugh at comedic elements in a set of characters and situations that bear no resemblance to real life.
It seems to this writer that in 'The American Claimant,' Mark Twain somehow lost control of his narrative (or his mind). He stepped over the line that separates parody from absurdity and for whatever reason could not pull back. The ending is more of a train wreck than a resolution.
Solomon sez: 'The American Claimant' is a stinker in which one finds a few amusing situations and some clever lines floating, like bits of crackers, adrift in a soup of drivel. Maybe for you but not for me.
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