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This is a great book, but the Signet version is a disgrace to Twain's memory -- cheap paper, messy undersized print, and narrow margins all make reading it torture.Do yourself a favor and buy the Modern Library version instead: The Innocents Abroad: or, The New Pilgrims' Progress (Modern Library Classics). You'll end up buying it anyway.
Contemporary Americans more easily accept themselves for what they are, at least, they have become less defensive. It's interesting to read his adventures in the Azores, Gibraltar, Morocco, France, Italy, Greece, Turkey, Russian Crimea, Syria, Lebanon, Egypt and the Holy Land and compare the experiences with what tourists might expect to meet today. You can count on laughing out loud many times as you read this book, which, because times have changed since he wrote it in 1867, is really amazing. It's still a great travel book and if you ever liked Mark Twain, you should read it. Nowadays Americans are not so concerned to pinpoint the differences between the Old World and the New. I loved the sections where he took the mickey out of travel writers who waxed eloquent about the beauties of places that were anything but; recklessly trigger happy writers who claimed they'd showed the "natives" what was what (but probably did nothing of the kind).
The famous author hoped to gain knowledge and insight, but a lot of what he saw repelled him. A few shenanigans, a few jokes among passengers on the chartered ship that took the whole bunch of them on an extended tour overseas flesh out the volume. He could not escape the prejudices and bigotries of his time. The grandeur of ruins and the great sense of history to be found in the Old World inspired him; the order and cleanliness of France attracted him as well. Well, Mark Twain certainly had a good sense of humor. By the time he got to Jerusalem, I was exhausted. While he revived my interest every now and then with another set of droll remarks or humorous observations, I admit that my will flagged somewhat towards the end of the 476 pages.
Anyway, both have changed immeasurably in the last 142 years. But Twain, like many writers since--for example, Henry James, Hemingway, and Sinclair Lewis---found the comparison fascinating. Like modern tourists, he did not meet cultured or disinterested people in such places---only touts, guides, servants, salesmen, and beggars. The world looks far more uniform now than it did then. They have also lost the pretense that somehow America is more innocent, a common 19th century trope.
But he often took the ways and tricks of those involved in the tourist trade as typical behavior of the countries involved. As Twain travelled he got increasingly bogged down in minute descriptions of antiquities. The best way to read this book is to dip into it over a period of time.
A wild and rollicking account of Mark Twain's adventures in the West and Hawaii, first as an aid to his brother, the new Acting Governor of Nevada, then as a miner, and finally as a newspaper reporter. He encounters all types, from Mormons to Indians, and nothing escapes description (coyotes and Horace Greely each have their due), and he tells his sometimes harrowing stories with great gusto and humor and sympathy.
Inside one finds smooth, creamy paper, sub-topic headings in the margins, a judicious use of white space, and over 30 small color illustrations. This review relates to the Heritage Press edition in green cloth with red and gold on the spine (circa 1962 and probably later). Designed by George Salter, illustated by Kredel, with an introduction by Edward Wagenknecht. A classic and simple Heritage design, meant to evoke the 19th century. Unfinished green cloth with a real gold leaf on the spine: letters, horizontals reminiscent of decorative Victorian bands, and five images of travel (designed by illustrator Fritz Kredel). In a red slipcase. 499 pp.
Inside one finds smooth, creamy paper, sub-topic headings in the margins, a judicious use of white space, and over 30 small color illustrations. This review relates to the Heritage Press edition in green cloth with red and gold on the spine (circa 1962 and probably later). Designed by George Salter, illustated by Kredel, with an introduction by Edward Wagenknecht. A classic and simple Heritage design, meant to evoke the 19th century. Unfinished green cloth with a real gold leaf on the spine: letters, horizontals reminiscent of decorative Victorian bands, and five images of travel (designed by illustrator Fritz Kredel). In a red slipcase. 499 pp.
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