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  • Finn
  • Written by Jon Clinch
  • Format: Trade Paperback | ISBN: 9780812977141
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  • Written by Jon Clinch
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A Novel

Written by Jon ClinchAuthor Alerts:  Random House will alert you to new works by Jon Clinch

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On Sale: February 20, 2007
Pages: | ISBN: 978-1-58836-584-2
Published by : Random House Random House Group
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Synopsis|Excerpt

Synopsis

In this masterful debut by a major new voice in fiction, Jon Clinch takes us on a journey into the history and heart of one of American literature’s most brutal and mysterious figures: Huckleberry Finn’s father. The result is a deeply original tour de force that springs from Twain’s classic novel but takes on a fully realized life of its own.

Finn sets a tragic figure loose in a landscape at once familiar and mythic. It begins and ends with a lifeless body–flayed and stripped of all identifying marks–drifting down the Mississippi. The circumstances of the murder, and the secret of the victim’s identity, shape Finn’s story as they will shape his life and his death.

Along the way Clinch introduces a cast of unforgettable characters: Finn’s terrifying father, known only as the Judge; his sickly, sycophantic brother, Will; blind Bliss, a secretive moonshiner; the strong and quick-witted Mary, a stolen slave who becomes Finn’s mistress; and of course young Huck himself. In daring to re-create Huck for a new generation, Clinch gives us a living boy in all his human complexity–not an icon, not a myth, but a real child facing vast possibilities in a world alternately dangerous and bright.

Finn is a novel about race; about paternity in its many guises; about the shame of a nation recapitulated by the shame of one absolutely unforgettable family. Above all, Finn reaches back into the darkest waters of America’s past to fashion something compelling, fearless, and new.

Praise for Finn
“A brave and ambitious debut novel… It stands on its own while giving new life and meaning to Twain’s novel, which has been stirring passions and debates since 1885… triumph of imagination and graceful writing…. Bookstores and libraries shelve novels alphabetically by authors’ names. That leaves Clinch a long way from Twain. But on my bookshelves, they'll lean against each other. I’d like to think that the cantankerous Twain would welcome the company.”
USA TODAY

“Ravishing…In the saga of this tormented human being, Clinch brings us a radical (and endlessly debatable) new take on Twain’s classic, and a stand-alone marvel of a novel. Grade: A.”
ENTERTAINMENT WEEKLY

“A fascinating, original read.”
people

“Haunting…Clinch reimagines Finn in a strikingly original way, replacing Huck’s voice with his own magisterial vision–one that’s nothing short of revelatory…Spellbinding.”
WASHINGTON POST

“Meticulously crafted…Marvelous imagination…The Finn of Clinch’s novel is certainly a racist villain but also psychologically disturbed and disconcertingly compelling.”
SAN FRANCISCO CHRONICLE

“From the barest of hints in Mark Twain's Huckleberry Finn, Clinch has created a fully believable world inhabited by fully realized characters. Clinch treads dangerous ground in making one of America’s greatest novels his jumping-off point, but he brings it off magnificently…The language of this book is one of its great beauties…Finn is far from one-dimensional, and that is another beauty of the book. Clinch has a knack for putting us squarely inside the heads of his characters….Clinch draws as compelling and realistic a picture as any we’re likely to find…Finn stands on its own. The richness of its language, the depth of its characters, the emotional and societal tangles through which they struggle to navigate add up to a portrait of life on the Mississippi as we’ve never before experienced it.”
dallas morning news

“His models may include Cormac McCarthy, and Charles Frazier, whose Cold Mountain also has a voice that sounds like 19th-century American (both formal and colloquial) but has a contemporary terseness and spikiness. This voice couldn’t be better suited to a historical novel with a modernist sensibility: Clinch’s riverbank Missouri feels postapocalyptic, and his Pap Finn is a crazed yet wily survivor in a polluted landscape…Clinch’s Pap is a convincingly nightmarish extrapolation of Twain’s. He’s the mad, lost and dangerous center of a world we’d hate to live in–or do we still live there?–and crave to revisit as soon as we close the book.”
newsweek

“I haven’t been swallowed whole by a work of fiction in some time. Jon Clinch’s first novel has done it: sucked me under like I was a rag doll thrown into the wake of a Mississippi steamboat…Jon Clinch has turned in a nearly perfect first book, a creative response that matches The Adventures of Huckleberry Finn in intensity and tenacious soul-searching about racism. I wish I could write well enough to construct a dramatic, subtle and mysterious story out of careful, plodding and unromantic prose, but for now I’m just happy to have an alchemist like Jon Clinch do it for me.”
BOOKSLUT

Finn strikes its most original chords in its bold imagining of possibilities left unexplored by Huckleberry Finn.”
austin american-statesman

“An inspired riff on one of literature’s all-time great villains…This tale of fathers and sons, slavery and freedom, better angels at war with dark demons, is filled with passages of brilliant description, violence that is close-up and terrifying…Everything in this novel could have happened, and we believe it… so the great river of stories is too, twisting and turning, inspiring such surprising and inspired riffs and tributes as Finn.”
new orleans times-picayune

“A triumph of succesful plotting, convincing characterization and lyrical prose.”
ROCKY MOUNTAIN NEWS

“Shocking and charming. Clinch creates a folk-art masterpiece that will delight, beguile and entertain as it does justice to its predecessor…In Finn, Clinch expands the bloodlines and scope of the original story and casts new light on the troubled legacy of our country’s infamous past.”
new york post

“In Clinch’s retelling, Pap Finn comes vibrantly to life as a complex, mysterious, strangely likable figure…Clinch includes many sharply realized, sometimes harrowing, even gruesome scenes…Finn should appeal not only to scholars of 19th century literature but to anyone who cares to sample a forceful debut novel inspired by a now-mythic American story.”
atlanta journal-consitution

“What makes bearable this river voyage that never ventures far beyond the banks is the compelling narrative Clinch has created. He writes exceedingly well, not with the immediacy Twain imbued to Huck's voice, but with an impersonal narrator’s voice that almost perversely refuses to take sides. And the plot is masterful.”
fredericksburg freelance-star

“Disturbing and darkly compelling…Clinch displays impressive imagination and descriptiveness…anyone who encounters Finn will long be hautned by this dark and bloody tale.”
hartford courant

“Jon Clinch pulls off the near impossible in his new novel, Finn, which brings Huck's dad to life in all his terrible humanness…Clinch vividly paints the origins of the amazing Huck...powerfully told.”
winston-salem journal

“Gripping…he inventively remaps known literary territory…the descriptive riffs are lucent.”
chicago tribune

“The best debut so far of 2007.”
men’s journal

“Inventing Huckleberry Finn’s father using only the thin scraps of information that Mark Twain provided is a pretty admirable feat, and reading Jon Clinch’s first novel provides an almost tactile pleasure…Clinch clearly respects Twain, but he doesn’t feel especially cowed by his inspiration, and some of his inventions qualify as genuine improvements on the original text.”
washington city paper

“In this darkly luminous debut…Clinch lyrically renders the Mississippi River’s ceaseless flow, while revealing Finn’s brutal contradictions, his violence, arrogance and self-reproach.”
Publishers Weekly, STARRED review

“Bold and deeply disturbing. . . A few incidents duplicate those in Twain,
but the novels could not be more different; instead of Huck’s unlettered child’s voice,
we have an omniscient narrative, grave, erudite and rich in the secretions of adult knowledge;
terse dialogue acts as an effective counterpoint. All along, Clinch’s intent
is to probe the nature of evil . . . a memorable debut, likely to make waves.”
KIRKUS REVIEWS, STARRED review

“Every fan of Twain’s masterpiece will want to read this inspired spin-off, which could become an unofficial companion volume.”
LIBRARY JOURNAL, STARRED review

“This is a bold debut that takes a few tentative steps in tandem with the familiar Twain,
but then veers off dexterously down a much more insidious, harrowing path.”
BOOKLIST

“Jon Clinch’s first novel Finn…succeeds wonderfully because its gritty lyricism is at once authentic and original…reminiscent at times of Cormac McCarthy…the eloquence of the telling will never make the courageous reader wish for a gentler touch. Like any appealing novel, Finn achieves the force of a dream with fascinating actions, indelible characters and spellbinding language. Its author is wily, astute and wise… Finn is a challenging and rewarding exploration of the suffering human heart. From the ominous shadow that was Pap Finn, Clinch has fashioned an unforgettable, twisted man and a marvelous novel.”
ROANOKE TIMES

“Next month Clinch makes his publishing debut with Finn, taking up where Mark Twain left Mr. Finn 120 years ago: dead in a room surrounded by such mysterious oddities as a wooden leg, women's underclothing, and two black cloth masks. It’s a great read.”
–Knoxville News Sentinel



From the Hardcover edition.

Excerpt

Chapter 1
Under a low sun, pursued by fish and mounted by crows and veiled in a loud languid swarm of bluebottle flies, the body comes down the river like a deadfall stripped clean.
It proceeds as do all things moving down the Mississippi in the late summer of the year, at a stately pace, as if its blind eyes were busy taking in the blue sky piled dreamily deep with cloud. There will be thunder by suppertime and rain to last the whole night long but just now the early day is brilliant and entirely without flaw. How long the body has been floating would be a mystery if any individual had yet taken note of its passage and mused so upon it, but thus far, under that sky of blue and white and upon this gentle muddy bed aswarm with a school of sunfish and one or two smallmouth bass darting warily as thieves, it has passed only empty fields and stands of willow and thick brushy embankments uninhabited.
A crow screams and flaps off, bearing an eye as brown and deep as the Mississippi herself.
Sunday morning, early, and the river is without traffic.
An alligator gar, eight feet if it’s an inch, rises deathlike from the bottom and fastens its long jaw upon a hipbone, which snaps like rotten wood and comes away. The body entire goes under a time or two, bobbing and turning, the eggs of blowflies scattering into the water like thrown rice. The urgent sunfish eddy. The bluebottles hover, endlessly patient, and when the body has recovered its equilibrium and resumed its downward course they settle once more.
Boys note its passage first, boys from the village taking the long way to Sunday school, and their witness is as much nature’s way as is the slow dissolution of the floating body into the stratified media of air and water. The corpse is not too very far from shore and clearly neither dog nor deer nor anything but man.
“I’ll bet it’s old Finn,” says one of them, Joe or Tom or Bill or perhaps some other. On this Sunday morning down by the riverbank they are as alike as polished stones. “My pap says they’ll fish him from the river one day for sure.”
“Go on,” says another.
“Yes sir. A worthless old drunk like that.”
“Go on,” says the other again. He picks up a flat stone and tests it in his hand, eyeing the crow, which has returned and sunken its beak into a pocket of flesh. “Shows how much you know. That ain’t even a man.”
“I reckon you think it’s a mule.”
“It’s a woman, no question.”
The lot of them go jostling together and squinting into the sunrise and blinking against the glare on the water as if the only thing superior to the floating corpse of a man would be the floating corpse of a woman, as if seeking in unison for a lesson in anatomy and never mind the cost.
Finally, from one of them or another but in the end from the childish heart in each save the learned one, this confession: “How can you tell?”
“Men float facedown. Anybody knows that.” Skipping the stone across the water to flush the crow, ruining his good trousers with the offhand brush of muddy fingers.
They draw straws, and as the unlucky boy lights out toward the village to enlist an adult the rest of them locate a skiff and cast off and make for the body. They hook her with a willow switch, these boys inured to dead things, and they drag her like bait to shore. One of them has been keeping a dead cat on a string for a week now, a kitten really, just a poor stiff dried husk won exactly this way, string and all, in a game of mumblety-peg.
The corpse floats low in the water, bottoming out in the mud that sucks at heel and buttock and drooping wrist. During its journey down the river it has failed to swell in the common way of corpses left in the sun. It lacks for skin, all of it, from scalp to sole. Nothing remains but sinew and bone and scraps of succulent yellow fat that the crows have not yet torn free.
One boy panics and loses his balance and falls into the water, his clothes spoiled for Sunday.
The bootlegger stirs his fire, oblivious to the sparks that circle upward into the night sky. He hears everything, every whisper in the dry grass of the pathway that leads from behind his shack, every snapping twig in the surrounding woods, every wingbeat of sparrow or jay or owl. “You can’t steal whiskey from old Bliss,” he likes to say, as if anyone would stoop so low as to steal whiskey from a blind man.
He repeats this reassurance now to Finn, who has proven him wrong before. “That’s so,” says Finn.
Pleased with himself, Bliss cackles until he coughs. Then he spits between his crooked teeth into the fire, where the sputum lands with a satisfying sizzle. “You got a jug?”
“ ’Course I got a jug.” Finn is as regular around these premises as the weather, even more regular than Bliss knows. But tonight his first purpose is neither to buy whiskey nor to steal it but to dispose of something in Bliss’s perpetual fire. He has a tow sack between his feet, filthy even in the firelight and slowly leaking something into the dust. He bumps the blind man’s knee with his jug, a signal.
“Go on get it yourself,” says Bliss. “Can’t you see I’m occupied?”
“I’ll tend. You pour. Give me that stick.”
Bliss won’t let it go. “Leave an old man be. I reckon you know where I keep it.”
“I reckon I do, if I could find it in the dark.”
He has a point, so Bliss hands over the stick and limps off into the woods muttering to himself like an old priest.
Finn unties the tow sack and lays out its contents, long strips dark and dimly glistening, pieces of flayed flesh identically sliced save one. Their regularity in width and length and thickness speaks of a huntsman’s easy skill and a plotter’s furtive patience and something else too. He chooses one and throws it upon the fire, where it sizzles and smokes and curls in upon itself as sinuously as a lie.
“Hope you brought some for me,” says Bliss from the depths of the woods.
“There’s plenty.” Throwing another piece into the fire to blacken. “Bring a couple of them jars when you come back. We’ll have ourselves a time.”
Bliss, weighed down with Finn’s crockery jug of forty-rod, adjusts his course and shuffles down the path toward the cabin. Halfway along he uses his head at last, plants the jug midpath like a tombstone, and makes for home unencumbered, counting off the paces so as not to stub his unshod foot during the journey back.
By firelight Finn locates the piece he’s set aside for his host. He clears hot ash from a rock and places it there in the manner of an offering.
“I ain’t had nothing but beans all week,” says Bliss as he squats on his log. He swirls whiskey to cleanse a pair of canning jars. One of them is cracked about the rim and fit to tear someone’s lip, and this one Bliss chooses for himself as long as Finn is paying. He minds the crack with his thumb. Bliss is a poor drinker and he knows it. Not mean like Finn, but morose and persistent and beyond satisfying. “A little of your fatback would’ve gone good with them beans.”
“You’ll like it well enough plain,” says Finn.
Bliss sniffs the air with satisfaction and mutters something unintelligible, pours himself another whiskey.
“You be sparing with that.” But Finn doesn’t mean it and he knows that Bliss will pay him no mind anyhow. Once you get Bliss started there’s no slowing him down until the jug is empty. “Besides, I ain’t paid for it yet.”
“Don’t worry none. I’ll put it on your account.” Tapping the side of his head with a finger.
They sit in silence while the meat cooks.
“I’ve broken it off with that woman,” says Finn.
“You’ve made such a claim before.”
“This time I mean it.”
“We’ll see.”
“I reckon we will.”
Bliss points his nose toward the spot where the meat sizzles on the fire just as surely as if he had two good eyes to guide it. “When’ll that be ready, you suppose? I don’t want it burnt.”
“Soon.” Tossing in another strip or two.
“Ain’t no good to me burnt.”
“Hold your water.”
“I’m just saying. Yours must be about black by now. The one you put up while I was in them woods.”
“I ain’t having any. She’s all yours, on account of how good you’ve always been to me.”
“Aww. Tain’t nothing.”
“A token of my gratitude.”
Bliss smiles in the odd unself-conscious way of one who has never looked into a mirror and learned thus to confine his expressions to the social norm. “So how long was you with her, Finn?”
“Ten, twelve years maybe. Fifteen, off and on.”
“Offer and onner, like they say.” He puts down his empty jar and rubs his hands together in a fit of glee, his whole brain a lovely jumble of women and fatback bacon. “What’ll the Judge think?”
“Can’t say.” Stabbing the flesh with a sharp stick and flipping it over.
“You’ve steered him wrong before.”
“I know it.”
“Me, I don’t believe you’ll ever make a dent in that Judge. He knows what he knows.”
Finn grunts.
“Your daddy’s one judge that’s got his mind made up.”
“He’s been that way all my life.”
“He was that way before you was born, Finn. It ain’t none of your doing.” He hawks and spits into the fire, and Finn throws in some more pieces. “Sure it ain’t done yet?”
“Just about. Have some more whiskey.”
“Don’t mind if I do.”
After a while Finn stabs the meat and places it upon a flat stone that he bumps against the bootlegger’s knee a time or two. “Can you set down that whiskey long enough to eat?”
“I’ll do my best,” says Bliss. Which he manages, just barely. And until half past midnight, while the silence in the woods deepens and the white moon looms and recedes and the owls grow weary at last of pursuing their prey through black air, the fire consumes Finn’s secret. Come noon Bliss will awaken on the hard ground, and in his mind Finn’s presence will have taken on the quality of a ghostly visitation.
He is between worlds, this boy. Between the river and the town, between the hogshead and the house, between the taint of his mother and the stain of his pap. He knows some things that he can never say, not even to himself.
He has trained his companions well—these boys forbidden to associate with him on account of his mother’s suspected stigma and his father’s famed trouble with whiskey, these boys who associate with him nonetheless and perhaps all the more intently for being forbidden his company although they do not generally encounter him at school or at church or at any of the other places ordinarily deemed suitable for boys of the village. They find his dark history as dizzying as a leap from some great bluff into a Mississippi pool and his scrapes with his violent pap as thrilling as a narrow escape from Injun Joe’s cave and his deep broad knowledge of woodsman’s lore and slave’s superstition as enchanting as a spell of protection against nightwalking spirits or werewolves, these boys forbidden to play with him yet drawn into his wake like needles to a lodestone, these boys whom he has trained well enough that at least one of them knows what he’ll say before he says it and indeed has said it already, that the body is not a man’s at all on account of it floats faceup.
When he can extricate himself from the widow’s he sleeps in a great barrel nearly as tall as a man and twice as big around, a sugar hogshead washed up among the rushes at the edge of the village. The barrel lies upon its side and he lies upon his side within it. Sometimes he locates a place between the staves where the rain and the riverwater and the barrel’s former purpose have conspired to leave behind a concealed crusty ridge of old sugar solidified, and with his clasp-knife he pries it loose for the pleasure of sucking upon it while he drifts off to sleep.
In the end it falls to the undertaker to load the corpse upon a wagon and remove it from the indignity of public display. Except perhaps for O’Toole, the giant who owns the slaughterhouse in the next county, there is none other who might possess the stomach for it. So here he is, rolling the sticky fly-blown thing into a square of old canvas and wrangling it up onto the bed of his wagon as if it were the featureless corpse of a slug and he an ant, strong beyond his size. His name is Swope, he is rail-thin and dressed in rusty black, and he has been a fixture in the village of St. Petersburg for longer than anyone can remember. From long association he has acquired both the air of death and some of its permanence, and his pale hair bursts from under the brim of his slouch hat like a pile of sunbleached straw.
The corpse for its part is well mannered, patient, and perfectly amenable. Leached clean of all fluids, it barely stains the canvas tarpaulin.
Swope mutters to himself as he works, complaining about the hour and the uncharacteristic heat and the unfairness of the world. He has long made a habit of talking to himself, since no one else will do it. The children believe that he speaks to Death, which hovers invisibly over one of his shoulders or the other, although their parents believe instead that he addresses his harmless old horse, Alma.
“As if I weren’t busy enough without goddamn half-pay charity cases come floating downstream. Won’t barely cover my expenses, may God damn the goodness of my goddamn bleeding heart, but who in hell else is going to do it? And at this time of the morning, as if the old gal couldn’t have kept till noon. A feller gets himself the idea to go skin somebody like a goddamn rabbit at least he ought to have the decency to set something by for the proper obsequies, mail it anonymous to the paper or the marshal or some such. A goddamn crime is what it is. The feller what done it deserves to be tried as much for one as for the other. Pitiful goddamn half-pay charity case.”


From the Hardcover edition.
Jon Clinch|Author Q&A

About Jon Clinch

Jon Clinch - Finn

Photo © Michael O’Neill

 
Born and raised in the remote heart of upstate New York, Jon Clinch has been an English teacher, a metalworker, a folksinger, an illustrator, a typeface designer, a housepainter, a copywriter, and an advertising executive. Teaching and advertising took him south to the suburbs of Philadelphia for many years, and only with the publication of Finn, his first novel, was he able to return to the kind of rural surroundings he’d loved from the start: This time, in the Green Mountains of Vermont. He is married to novelist Wendy Clinch, and they have one daughter.

Author Q&A

ON THE ROAD AND ON THE PHONE: A CONVERSATION WITH JON CLINCH


During his tour for Finn–and in telephone calls to book groups ever since–Jon Clinch has been collecting interesting questions. Here are some of the best, by way of sparking discussion at your group meeting.

Question: Early in Finn, we know that the two main characters will die by the end. What kind of problems did that pose for you?

Jon Clinch: More than a few–but I wanted to start out with that floating corpse for a number of reasons. First, it never hurts to start with a body–especially one that’s been mysteriously flayed. Second, I wanted to echo a scene from chapter three of Adventures of Huckleberry Finn, where people find the corpse of a man drowned in the river (for a while they believe it’s Finn himself ). And last, this particular body belongs to a character who will be the emotional center of the novel and its chief revelation.

Beginning with this moment left me with two choices: I could either write the rest of the novel as a flashback leading up to this point, or I could structure the narrative in a much more complex way to focus more on character than on plot. Obviously, I chose the second path. My goal from that point on was to create a story that developed its urgency by means of intense focus on a handful of characters– mainly Finn himself.

In the end, this structure served thematic purposes as well. Finn is in many ways a novel about imprisonment–Finn physically imprisons both Huck and Mary at various times–and taken all around there’s really no character who functions with the absolute freedom that he desires. It seems to me that the novel’s structural confinement reinforces that point.

Q: Why didn’t you use dialect in Finn?

JC: I set out with two clear aims for the way that Finn would sound. First, I wanted an archaic and mythic kind of narrative voice that would give the novel a sense of timelessness and truth. That meant calling on the language and cadences of some large and imposing models: the King James Bible, for one, and the work of American masters like William Faulkner and Herman Melville. My second goal was to honor Twain’s grand use of dialect in Huckleberry Finn without attempting to mimic it in any way. By stripping the speech of characters like Finn or Bliss down to its barest essence, I was able to create a contrast between narrative and dialogue that conveys the impression of dialect without giving in to specifics.

As for Finn’s “I know it,” I hear this vocal tic as a statement of mingled assent and defensiveness and one-upmanship–as if he believes that merely agreeing with another person is too passive and undignified an act. With this little formula he simultaneously assents and defends his independence and declares his awareness of any knowledge possessed by whatever person he’s speaking with. Plus I believe that the Homeric quality of repeated, formulaic expression–coupled with the naming conventions in the book, where certain characters are identified only by their roles and Finn himself has no known first name–works to advance the novel’s mythic scope.

Q: How careful were you to match events in Finn to events in Adventures of Huckleberry Finn?

JC: Extremely, although I always gave myself a certain amount of leeway. As Twain himself wrote: “Get your facts first, and then you can distort them as much as you please.” My intent was always to honor the imaginative world that Twain created in Huckleberry Finn, rather than enslave myself to the details of geography or history. Some scenes from Huckleberry Finn replay whole in Finn, except for point of view and subtext. Some scenes that Twain only sketched or suggested–Finn and the professor from Ohio, Finn and Judge Stone–are fleshed out fully. Other scenes that my narrative required–Finn’s discovery of Huck’s escape from the squatter’s shack, for example–called for interpreting the events of Huckleberry Finn in new ways, ways that I think are often more credible than Huck’s reportage.

Twain’s decision to have a child tell his own story gave me the freedom to consider Huck an unreliable narrator, particularly when it came to describing the wickedness of his own father. (One key example of this is the scene in Huckleberry Finn where, his escape from the squatter’s shack having left the people of St. Petersburg thinking him dead, Huck describes seeing a search boat that carries practically everybody in town–including Judge Thatcher and Pap. I couldn’t see Finn playing the good father here, even for pay, any more than I could see him falling for Huck’s clumsy “escape.” So I chalked Huck’s report up to wishful thinking, and let Finn go on his way up the river.

Q: Other than Twain, what were your inspirations?

JC: William Faulkner, obviously. I’d always wanted to write a novel with a powerful motivating character who remained just behind the scenes, like Thomas Sutpen in Absalom, Absalom! The Judge fills that role in Finn, although as draft turned into revised draft he moved more and more out of the shadows. Herman Melville was a great inspiration, too. The Santo Domingo sequence where Finn abducts Mary is in some ways a retelling of his novel Benito Cereno.

Then there’s music. Many rhythms and phrases and references in Finn come from the magnificent gospel hymns of Fanny Crosby, Charles Albert Tindley, and others. I came to love these as a child, and they stay with me to this day. Other musical touchstones are the fine banjo-andfiddle recordings of John Hartford and Texas Shorty, whose plaintive and stately melodies form the secret soundtrack of this book. You can hear one of them, “Midnight on the Water,” at www.ReadFinn.com.

Q: How have people responded to the notion of a biracial Huck?

JC: Finn definitely has Twain scholars talking, and by and large their opinion is that although my book’s revelations won’t satisfy everyone, they provide some important and convincing answers to questions posed by Twain’s novel. This gratifies me, not because I set out to please the academics or to advance some kind of scholarly agenda, but because I set out to write a book that was true to its raw materials and true to its deepest impulses and true to my own worldview–particularly to my understanding of how human nature functions at points of extremity. That it’s being received as a convincing extension of Twain’s world seems to me a great reward for my efforts.

All of which leads me back to the central question of Huck’s blackness. As Shelley Fisher Fishkin demonstrated in her provocatively titled monograph Was Huck Black? Twain’s worldview was much influenced by the black children with whom he grew up. Their manner of speech–their manner of thought, come to that, since language both reflects and influences cognition–was enormously important in shaping his own modes of expression. Particularly his taste for satire and irony, without which we wouldn’t have much in the way of a Mark Twain at all. With Fishkin, I believe that there is most certainly a whole black culture at work behind the character of Huck Finn, regardless of the particulars of his pigmentation.

Q: What about the level of violence in Finn? How does it align with the world of Adventures of Huckleberry Finn?

JC: While he was composing Huckleberry Finn, Mark Twain lamented that the strictures of polite culture–and the limits of writing for an audience of boys–kept him from describing in its pages the hair-raising violence that he had seen on the Mississippi of his youth. He felt constrained, in other words, from telling a truth that I was free to describe.

But I was more than free to describe it, really. I was obliged. First because of my commitment to Twain, and second because of my deeply held belief that we live in a world where it’s easy–in fact, almost inevitable–to become inured to violence. There is plenty of brutality in Finn, but there’s nothing in its pages that you can’t see on the evening news or in a thousand other less serious corners of popular culture: movies, cop shows, video games, the latest thriller on the library shelf. If some of Finn makes readers flinch, and I hope it does, it’s only in the service of awakening a kind of primal human reflex that I fear we may be on the verge of dulling to extinction.

Praise

Praise

Praise for Finn
“A brave and ambitious debut novel… It stands on its own while giving new life and meaning to Twain’s novel, which has been stirring passions and debates since 1885… triumph of imagination and graceful writing…. Bookstores and libraries shelve novels alphabetically by authors’ names. That leaves Clinch a long way from Twain. But on my bookshelves, they'll lean against each other. I’d like to think that the cantankerous Twain would welcome the company.”
USA TODAY

“Ravishing…In the saga of this tormented human being, Clinch brings us a radical (and endlessly debatable) new take on Twain’s classic, and a stand-alone marvel of a novel. Grade: A.”
ENTERTAINMENT WEEKLY

“A fascinating, original read.”
people

“Haunting…Clinch reimagines Finn in a strikingly original way, replacing Huck’s voice with his own magisterial vision–one that’s nothing short of revelatory…Spellbinding.”
WASHINGTON POST

“Meticulously crafted…Marvelous imagination…The Finn of Clinch’s novel is certainly a racist villain but also psychologically disturbed and disconcertingly compelling.”
SAN FRANCISCO CHRONICLE

“From the barest of hints in Mark Twain's Huckleberry Finn, Clinch has created a fully believable world inhabited by fully realized characters. Clinch treads dangerous ground in making one of America’ s greatest novels his jumping-off point, but he brings it off magnificently…The language of this book is one of its great beauties…Finn is far from one-dimensional, and that is another beauty of the book. Clinch has a knack for putting us squarely inside the heads of his characters….Clinch draws as compelling and realistic a picture as any we’re likely to find…Finn stands on its own. The richness of its language, the depth of its characters, the emotional and societal tangles through which they struggle to navigate add up to a portrait of life on the Mississippi as we’ve never before experienced it.”
dallas morning news

“His models may include Cormac McCarthy, and Charles Frazier, whose Cold Mountain also has a voice that sounds like 19th-century American (both formal and colloquial) but has a contemporary terseness and spikiness. This voice couldn’t be better suited to a historical novel with a modernist sensibility: Clinch’s riverbank Missouri feels postapocalyptic, and his Pap Finn is a crazed yet wily survivor in a polluted landscape…Clinch’s Pap is a convincingly nightmarish extrapolation of Twain’s. He’s the mad, lost and dangerous center of a world we’d hate to live in–or do we still live there?–and crave to revisit as soon as we close the book.”
newsweek

“I haven’t been swallowed whole by a work of fiction in some time. Jon Clinch’s first novel has done it: sucked me under like I was a rag doll thrown into the wake of a Mississippi steamboat…Jon Clinch has turned in a nearly perfect first book, a creative response that matches The Adventures of Huckleberry Finn in intensity and tenacious soul-searching about racism. I wish I could write well enough to construct a dramatic, subtle and mysterious story out of careful, plodding and unromantic prose, but for now I’m just happy to have an alchemist like Jon Clinch do it for me.”
BOOKSLUT

Finn strikes its most original chords in its bold imagining of possibilities left unexplored by Huckleberry Finn.”
austin american-statesman

“An inspired riff on one of literature’s all-time great villains…This tale of fathers and sons, slavery and freedom, better angels at war with dark demons, is filled with passages of brilliant description, violence that is close-up and terrifying…Everything in this novel could have happened, and we believe it… so the great river of stories is too, twisting and turning, inspiring such surprising and inspired riffs and tributes as Finn.”
new orleans times-picayune

“A triumph of succesful plotting, convincing characterization and lyrical prose.”
ROCKY MOUNTAIN NEWS

“Shocking and charming. Clinch creates a folk-art masterpiece that will delight, beguile and entertain as it does justice to its predecessor…In Finn, Clinch expands the bloodlines and scope of the original story and casts new light on the troubled legacy of our country’s infamous past.”
new york post

“In Clinch’s retelling, Pap Finn comes vibrantly to life as a complex, mysterious, strangely likable figure…Clinch includes many sharply realized, sometimes harrowing, even gruesome scenes…Finn should appeal not only to scholars of 19th century literature but to anyone who cares to sample a forceful debut novel inspired by a now-mythic American story.”
atlanta journal-consitution

“What makes bearable this river voyage that never ventures far beyond the banks is the compelling narrative Clinch has created. He writes exceedingly well, not with the immediacy Twain imbued to Huck's voice, but with an impersonal narrator’s voice that almost perversely refuses to take sides. And the plot is masterful.”
fredericksburg freelance-star

“Disturbing and darkly compelling…Clinch displays impressive imagination and descriptiveness…anyone who encounters Finn will long be hautned by this dark and bloody tale.”
hartford courant

“Jon Clinch pulls off the near impossible in his new novel, Finn, which brings Huck's dad to life in all his terrible humanness…Clinch vividly paints the origins of the amazing Huck...powerfully told.”
winston-salem journal

“Gripping…he inventively remaps known literary territory…the descriptive riffs are lucent.”
chicago tribune

“The best debut so far of 2007.”
men’s journal

“Inventing Huckleberry Finn’s father using only the thin scraps of information that Mark Twain provided is a pretty admirable feat, and reading Jon Clinch’s first novel provides an almost tactile pleasure…Clinch clearly respects Twain, but he doesn’t feel especially cowed by his inspiration, and some of his inventions qualify as genuine improvements on the original text.”
washington city paper

“In this darkly luminous debut…Clinch lyrically renders the Mississippi River’s ceaseless flow, while revealing Finn’s brutal contradictions, his violence, arrogance and self-reproach.”
Publishers Weekly, STARRED review

“Bold and deeply disturbing. . . A few incidents duplicate those in Twain,
but the novels could not be more different; instead of Huck’s unlettered child’s voice,
we have an omniscient narrative, grave, erudite and rich in the secretions of adult knowledge;
terse dialogue acts as an effective counterpoint. All along, Clinch’s intent
is to probe the nature of evil . . . a memorable debut, likely to make waves.”
KIRKUS REVIEWS, STARRED review

“Every fan of Twain’s masterpiece will want to read this inspired spin-off, which could become an unofficial companion volume.”
LIBRARY JOURNAL, STARRED review

“This is a bold debut that takes a few tentative steps in tandem with the familiar Twain,
but then veers off dexterously down a much more insidious, harrowing path.”
BOOKLIST

“Jon Clinch’s first novel Finn…succeeds wonderfully because its gritty lyricism is at once authentic and original…reminiscent at times of Cormac McCarthy…the eloquence of the telling will never make the courageous reader wish for a gentler touch. Like any appealing novel, Finn achieves the force of a dream with fascinating actions, indelible characters and spellbinding language. Its author is wily, astute and wise… Finn is a challenging and rewarding exploration of the suffering human heart. From the ominous shadow that was Pap Finn, Clinch has fashioned an unforgettable, twisted man and a marvelous novel.”
ROANOKE TIMES

“Next month Clinch makes his publishing debut with Finn, taking up where Mark Twain left Mr. Finn 120 years ago: dead in a room surrounded by such mysterious oddities as a wooden leg, women's underclothing, and two black cloth masks. It’s a great read.”
–Knoxville News Sentinel
Discussion Questions

Discussion Guides

1. Finn (the character) is both sympathetic and unsympathetic. How do his various traits and actions make him that way? Did you find yourself rooting for him or against him? For what reasons? How did your reactions to him change as the book went on?

2. Finn is deeply conflicted on issues of race. Which of his impulses are good? Which are bad? What could he have done to change the outcome of his circumstances?

3. Finn is also fiercely conflicted in his relationship with his father, the Judge. He wants desperately to please him, but subverts his own intentions time and again. How does this make you feel about the two of them–and about their relationship?

4. The author chose to give Finn no first name and to give certain other characters either no names at all or names that identify them as archetypes (e.g., the Judge, the preacher, the laundress). Why do you suppose he made this decision? How did this unusual naming convention affect your understanding of and involvement with the story?

5. The events in Finn are told out of sequence. How would the novel have been different if it had been told chronologically?

6. Although the action in Finn is closely tied to the events of Adventures of Huckleberry Finn and The Adventures of Tom Sawyer, the novel stands by itself and takes some very different directions from Twain’s work. Did that surprise you? If the author had chosen to stay closer to Twain, how would the book have been different?

7. If you have read Adventures of Huckleberry Finn recently, how did the world envisioned in Twain’s novel compare with the world in Clinch’s? Which seemed to you more realistic? Why?

8. Adventures of Huckleberry Finn has a first-person narrator (Huck tells the story himself ), while Finn has an omniscient third-person narrator. Huck is told in the past tense, and Finn in the present. How do these differences affect your understanding of the novels and your connection to them?

9. Adventures of Huckleberry Finn is widely regarded as a masterpiece of dialect writing. Did the author of Finn choose wisely in avoiding the use of dialect in his novel? What tricks did he use to give the impression of dialect speech without actually rendering it?

10. What images–either from memorable scenes or through vivid language–stand out to you? The author has said that much of the inspiration for the language of this book came from William Faulkner, the King James Bible, and old gospel hymns. Does that make sense to you?

11. Some minor characters from Adventures of Huckleberry Finn reappear in Finn. Which of them did you recognize? How are they different, if at all?

12. One important theme of Finn is paternity: the things we take from our fathers and pass to our children. There are several father-and-child combinations in the book, both real and symbolic: Finn and the Judge, Finn and Huck, Judge Thatcher and Huck, Judge Thatcher and Becky, the Judge and Will, Judge Stone and his children, Mary’s father and Mary, the laundress’s husband and the murdered child. How do they compare to one another?

13. The last sentence of Finn–“He will take what he requires and light out”–echoes the end of Adventures of Huckleberry Finn: “...I got to light out for the Territory ahead of the rest. . . . ” Yet it also refers to the issues of paternity raised in Finn. Twain’s ending was hopeful. Is Clinch’s? How are the endings different?


  • Finn by Jon Clinch
  • March 11, 2008
  • Fiction - Literary
  • Random House Trade Paperbacks
  • $16.00
  • 9780812977141

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