Originally published: Berkeley, Calif; London: University of California Press, 1969.

This is the only authoritative text of this late novel. It reproduces the manuscript which Mark Twain wrote last, and the only one he finished or called the "The Mysterious Stranger." Albert Bigelow Paine's edition of the same name has been shown to be a textual fraud.

Mark Twain's last novel rich with boyhood memories of The Mississippi River Valley, but set in medieval Austria.

The Mysterious Stranger by Mark Twain The Mysterious Stranger is the final novel attempted by the American author Mark Twain. He worked on it periodically from 1897 through 1908. The body of work is a serious social commentary by Twain addressing his ideas of the Moral Sense and the "damned human race." Twain wrote multiple versions of the story; each is unfinished and involves the character of "Satan." "St. Petersburg Fragment" Twain wrote the "St. Petersburg Fragment" in September 1897. It was set in the fictional town of St. Petersburg, a name Twain often used for Hannibal, Missouri. The Chronicle of Young Satan The first substantial version is commonly referred to as The Chronicle of Young Satan and relates the adventures of Satan, the sinless nephew of the biblical Satan, in Eseldorf, an Austrian village in the Middle Ages (year 1702). The story ends abruptly in the middle of a scene involving Satan' entertaining a prince in India. Twain wrote this version between November 1897 and September 1900. "Eseldorf" is German for "assville" or "donkeytown." Schoolhouse Hill The second substantial version Twain attempted to write is known as Schoolhouse Hill. It is set in the US and involves the familiar characters Huckleberry Finn and Tom Sawyer and their adventures with Satan, referred to in this version as "No. 44, New Series 864962." Schoolhouse Hill is the shortest of the three versions. Twain began writing it in November 1898 and, like the "St. Petersburg Fragment," set it in the fictional town of St. Petersburg.

In this first book on No. 44 in thirty years, thirteen especially commissioned essays by some of today's most accomplished Twain scholars cover an array of topics, from domesticity and transnationalism to race and religion, and reflect a variety of scholarly and theoretical approaches to the work. This far-reaching collection considers the status of No. 44 within Twain's oeuvre as they offer cogent insights into such broad topics as cross-culturalism, pain and redemption, philosophical paradox, and comparative studies of the "Mysterious Stranger" manuscripts. All of these essays attest to the importance of this late work in Twain's canon, whether considering how Twain's efforts at truth-telling are premeditated and shaped by his own experiences, tracing the biblical and religious influences that resonate in No. 44, or exploring the text's psychological dimensions. Several address its importance as a culminating work in which Twain's seemingly disjointed story lines coalesce in meaningful, albeit not always satisfactory, ways. An afterword by Alan Gribben traces the critical history of the "Mysterious Stranger" manuscripts and the contributions of previous critics. A wide-ranging critical introduction and a comprehensive bibliography on the last century of scholarship bracket the contributions. Close inspection of this multidimensional novel shows how Twain evolved as a self-conscious thinker and humorist--and that he was a more conscious artist throughout his career than has been previously thought. Centenary Reflections deepens our understanding of one of Twain's most misunderstood texts, confirming that the author of No. 44 was a pursuer of an elusive truth that was often as mysterious a stranger as Twain himself.

Here back in a paperback edition are the complete set of manuscripts left by Twain, which after his death would be assembled into a bowdlerized version and published as The Mysterious Stranger.

"No. 44, The Mysterious Stranger" is narrated by August Feldner, a sixteen-year-old printer's apprentice living in a remote Austrian village in the late fifteenth century. The print shop in which he works is located in a run-down old castle, which houses over a dozen people, including the print master, his family, and the various men who work in the shop, as well as a magician. August relates the magical events that occur in the castle after the arrival of a strange boy who says his name is "Number 44, New Series 864,962." Twain's central themes in this story include dreams and the imagination, as well as ideas, knowledge, and thought.