The incident closed there. He was prevented, by illness in his household, from contributing to the next issue, and the second issue following was his final “Memoranda” installment. So the matter perished and was forgotten. It was his last editorial hoax. Perhaps he concluded that hoaxes in any form were dangerous playthings; they were too likely to go off at the wrong end.
It was with the April number (1871) that he concluded his relations with the Galaxy. In a brief valedictory he gave his reasons:
I have now written for the Galaxy a year. For the last eight
months, with hardly an interval, I have had for my fellows and
comrades, night and day, doctors and watchers of the sick! During
these eight months death has taken two members of my home circle and
malignantly threatened two others. All this I have experienced, yet
all the time have been under contract to furnish “humorous” matter,
once a month, for this magazine. I am speaking the exact truth in
the above details. Please to put yourself in my place and
contemplate the grisly grotesqueness of the situation. I think that
some of the “humor” I have written during this period could have
been injected into a funeral sermon without disturbing the solemnity
of the occasion.
The “Memoranda” will cease permanently with this issue of the
magazine. To be a pirate on a low salary, and with no share in the
profits of the business, used to be my idea of an uncomfortable
occupation, but I have other views now. To be a monthly humorist in
a cheerless time is drearier.
Without doubt he felt a glad relief in being rid of this recurrent, imperative demand. He wrote to Orion that he had told the Galaxy people he would not write another article, long or short, for less than $500, and preferred not to do it at all.
The Galaxy department and the work on the Express were Mark Twain's farewell to journalism; for the “Memoranda” was essentially journalistic, almost as much so, and as liberally, as his old-time Enterprise position. Apparently he wrote with absolute freedom, unhampered by editorial policy or restriction. The result was not always pleasant, and it was not always refined. We may be certain that it was because of Mrs. Clemens's heavy burdens that year, and her consequent inability to exert a beneficent censorship, that more than one—more than a dozen—of the “Memoranda” contributions were permitted to see the light of print.
As a whole, the literary result of Mark Twain's Buffalo period does not reach the high standard of The Innocents Abroad. It was a retrogression—in some measure a return to his earlier form. It had been done under pressure, under heavy stress of mind, as he said. Also there was another reason; neither the subject treated nor the environment of labor had afforded that lofty inspiration which glorified every step of the Quaker City journey. Buffalo was a progressive city—a beautiful city, as American cities go—but it was hardly an inspiring city for literature, and a dull, dingy newspaper office was far, very far, from the pleasant decks of the Quaker City, the camp-fires of Syria, the blue sky and sea of the Mediterranean.
LXXXII. THE WRITING OF “ROUGHING IT”
The third book published by Mark Twa in was not the Western book he was preparing for Bliss. It was a small volume, issued by Sheldon & Co., entitled Mark Twain's Autobiography (Burlesque) and First Romance. The Romance was the “Awful, Terrible Medieval Romance” which had appeared in the Express at the beginning of 1870. The burlesque autobiography had not previously appeared. The two made a thin little book, which, in addition to its literary features, had running through it a series of full-page, irrelevant pictures—-cartoons of the Erie Railroad Ring, presented as illustrations of a slightly modified version of “The House That Jack Built.” The “House” was the Erie headquarters, the purpose being to illustrate the swindling methods of the Ring. The faces of Jay Gould, James Fisk, Jr., John T. Hoffman, and others of the combination, are chiefly conspicuous. The publication was not important, from any standpoint. Literary burlesque is rarely important, and it was far from Mark Twain's best form of expression. A year or two later he realized the mistake of this book, bought in the plates and destroyed them.
Meantime the new Western book was at a standstill. To Orion, in March, he wrote: