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The novel is a marvelous boyвЂ™s adventure story, a fact given perspective by TwainвЂ™s observation that вЂњit will be read only by adults.вЂќ That is, the essence of childhood can be savored only after the fact, only after one has passed through it and can look back upon it. It is at the same time a novel of the utmost simplicity and of deep complexity. Nearly everyone agrees that The Adventures of Tom Sawyer, TwainвЂ™s second novel, is an American classic, and many also agree that there is no accounting for its success. Adventures of Huckleberry Finn is midway between the extremes, with its blending of the light and affirmation that shine so brightly in TwainвЂ™s childhood idyll with the darkened vision of the later years. That is, TomвЂ™s adventures take place in the hallowed light of innocence and virtue beyond the reach of any truly effective evil forces, while RoxyвЂ™s adventures in PuddвЂ™nhead Wilson are of almost unrelieved gloom. Except for The Gilded Age, which he wrote with Charles Dudley Warner, the novels, from The Adventures of Tom Sawyer to the final two, PuddвЂ™nhead Wilson and Personal Recollections of Joan of Arc, fall within the thematic and tonal extremes established by the short fiction.

Most of TwainвЂ™s fiction comes between the two, both chronologically and thematically. The вЂњMysterious StrangerвЂќ stories, one of which was first published in bowdlerized form after TwainвЂ™s death, are almost pure gloom. The jumping frog story is almost pure fun. The tonal quality of TwainвЂ™s works is also dualistic.

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One also thinks of boys testing themselves against adults, of youth and adulthood, of the free life on the river contrasted with the settled life of the river towns, of the wilderness and civilization, of the promises of industrial progress against the backdrop of the humbler, traditional rural setting, of Eden and everything east of Eden, and, finally, of good and evil. One thinks immediately of Tom and Huck, of Huck and Jim, of Huck and Pap, of the Widow Douglas and Miss Watson, of the prince and the pauper, of the two sets of twins in PuddвЂ™nhead Wilson, and of Mark Twain and Samuel Clemens. That observation is not worth much without detailed application to specific aspects of particular works, but even before turning to particulars, it is useful to consider how many вЂњpairsвЂќ of contending, conflicting, complementary, or contrasting characters, situations, states of being, ideas, and values run through TwainвЂ™s work. It is instructive to note that the most pervasive structural characteristic of Mark TwainвЂ™s (NovemвЂ“ April 21, 1910) work, of his nonfiction as well as his fiction, is dualistic.