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51 pages 1 hour read

Mark Twain

Roughing It

Fiction | Novel | Adult | Published in 1872

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Chapter 1Chapter Summaries & Analyses

Chapter 1 Summary: “Secretary of Nevada Territory”

Note: The contents of Chapter 1 correspond to Chapters 1-18 in print editions of the book.

The book begins in 1861 with the author stating his intention to travel west. His brother has just been appointed secretary to the governor of the Nevada Territory. At the time, Twain is 26 and enthused at the ideal of journeying on the Overland Stage Line. He is keen to be a hero and write home about his adventures: “Among the mountains of the Far West, [he] would see buffaloes and Indians, and prairie dogs, and antelopes, and have all kinds of adventures, and may be get hanged or scalped, and have ever such a fine time” (19). Twain anticipates a pleasure junket that will last three months but informs the reader that he won’t end up returning home for almost seven years.

The overland stagecoach route from St. Joseph, Missouri, to Sacramento, California, is 1,900 miles long and takes about 18 days to complete, though Twain’s party will disembark short of that point in Carson City, Nevada. Twain and his brother will board a coach that travels day and night. The driver and conductor may be switched at one of the many stations that are maintained at regular intervals along the route. Both passengers have brought heavy trunks but are only allowed to carry 25 pounds of luggage with them. This is because the coach is stuffed with mail that will need to be delivered along the way. The fare to Carson City is $150 per person—approximately $5,600 in today’s currency.

The brothers send their additional belongings home and board the coach. The only other passenger is a man named Geroge Bemis, who likes to tell tall tales. The passengers at first enjoy rolling farmland scenery, but this soon gives way to 700 miles of monotonously flat plains. During this stretch of the journey, Twain spends some time contemplating an animal he calls “the jackass rabbit” because of its donkey-like ears (32). The passengers amuse themselves by firing bullets near the creature to see it running away at top speed. As the coach bumps along, the travelers are frequently assaulted by the stacks of mail and books stored precariously inside the coach. Eventually, the men stop trying to sit upright and sleep on top of the piles instead.

Aside from the discomfort of the coach, Twain also describes one of the stations where the coach stops to change horses and allow the passengers to eat. The station keepers and hostlers fawn on the driver but pay little attention to the conductor and none at all to the travelers. The food they serve, including expired army rations and a foul-tasting tea called “slumgullion,” is vile.

Twain mentions that the way stations are frequently staffed by rough characters who are running from the law. They are only kept in line by division agents who are even more ruthless than they are. The most formidable of these is Jack Slade. He manages to keep order on the overland route by killing anyone who defies him. Twain meets Slade at one of the stations and is fearful of his formidable reputation, but the man behaves like a perfect gentleman. Unfortunately, Slade’s manner changes drastically when he’s had too much to drink. Twain relates Slade’s demise, which comes when he tears up a town in Nevada and is hanged by a group of vigilantes.

The passengers have time to participate in a buffalo hunt on their journey. Bemis ends up being chased by a bull buffalo and disappears from sight. Later, he tells a highly improbably tale of the buffalo climbing a tree to reach him. He claims to have fashioned a noose and lynched the buffalo from the tree before shooting it. Twain and his brother are skeptical of this narrative.

As the coach continues westward, the passengers are eager to catch a glimpse of the Pony Express riders who travel the same route at about twice the stagecoach’s speed. When one of these legendary riders finally does pass the coach, he vanishes at top speed in the blink of an eye.

The stage now advances into Indigenous territory, and the travelers are wary of a possible attack. Fortunately, no incidents occur, but the driver and conductor claim that they are being silently watched as they continue their journey. One night, the passengers awaken to the sound of gunfire and a struggle outside. In the morning, the conductor tells them that at one of their station stops, the driver was attacked and killed by a group of bandits whom he’d insulted. Neither the conductor nor the new driver seems particularly concerned about his fate: “They plainly had little respect for a man who would deliver offensive opinions of people and then be so simple as to come into their presence unprepared” (78).

As they cross the alkali desert on the outskirts of Salt Lake City, the passengers are startled by the sight of animal bones that give off a glow of phosphorus at night. Eventually, the coach reaches civilization in Salt Lake City. The passengers are relieved to have the first decent meal they’ve enjoyed on their long journey. At the time, Utah is still a territory under the rule of Brigham Young, whom Twain calls “the only absolute monarch in America” (107).

While the passengers are curious about Mormon customs and beliefs, they don’t get much information from the locals. The culture is resistant to outside influence and has defied the American government in the past. One gentile recounts the story of his business dealings with Mormons who refused to honor a contract. He appealed to Brigham Young to settle the dispute, and the matter was instantly resolved. He tells Twain, “There is a batch of governors, and judges, and other officials here, shipped from Washington […] but the petrified truth is that Utah is an absolute monarchy and Brigham Young is king!” (117).

Twain pokes a good deal of fun at Brigham Young by describing a fictional situation in which he tries to placate over 50 wives to maintain domestic harmony. One local man advises Twain that the best way to ensure peace is to limit the number of one’s wives to a dozen. Twain also takes a copy of the Mormon bible when he leaves town and critiques its rambling prose style: “The book is a curiosity to me, it is such a pretentious affair, and yet so ‘slow,’ so sleepy; such an insipid mess of inspiration. It is chloroform in print” (127). Twain’s only other complaint about Salt Lake City is the high prices. The difficulty of shipping items over the mountains to this location inflates the cost of everything. Elsewhere in the country, one would pay a penny for something that costs a quarter in Utah.

After leaving the metropolis, the stagecoach travels through a stretch of desert. Twain and his companions are enthusiastic about the romantic notion of crossing a desert, but the heat, dryness, and slow pace of the coach make them all wish to be elsewhere, and they are overjoyed when they reach the other side.

Chapter 1 Analysis

The book’s first chapter narrates Twain’s journey from St. Joseph, Missouri—the starting point of the Overland Stage Line—to the western side of Salt Lake City, Utah. This leg of the trip takes about two weeks to complete, and all three of the book’s central themes are featured to some degree. In mocking his own innocence at the outset, Twain evokes the theme of Great Expectations. He expects to see wonders all along the way and does not anticipate the degree to which his grandiose notions will be deflated by reality. The Overland Stage Line inspires him with awe since it covers nearly 2,000 miles from Missouri to California. However, the coach itself isn’t particularly comfortable. The three travelers are jostled by the mailbags stowed in their compartment along with a quantity of books they brought themselves. Each bump in the road sends the stack toppling over them until they decide to pile the mail on the floor and rest atop the mound. The stage stations are equally disappointing since the passengers are treated insolently by the staff and are fed disgusting food all along the way. Only one experience seems to match Twain’s overblown expectations when he catches a glimpse of a Pony Express rider whizzing past the carriage. Twain is entranced by the romance of the riders’ work, as they speed across wild landscapes in all weather and at all times of the day and night. When one finally passes the coach in daylight, everyone stares as “man and horse burst past [their] excited faces, and go winging away like a belated fragment of a storm” (72). The simile here conveys the sense that, in Twain’s mind, this anonymous horseman represents all the grandeur of the West and the drama of frontier settlement.

Twain describes each change of scenery through which the coach passes, developing a comprehensive and varied picture of The Western Landscape and the Myth of the Frontier. He finds some sights impressive and others disappointing. The rolling hills provide a fine prospect, but these give way to hundreds of miles of monotonous plains. The sublime grandeur of the Rocky Mountains inspires him to an almost religious awe. Faced for the first time in his life with the sight of snow in late summer, he remarks,

Truly, ‘seeing is believing’—and many a man lives a long life through, thinking he believes certain universally received and well-established things, and yet never suspects that if he were confronted by those things once, he would discover that he did not really believe them before, but only thought he believed them (99).

Like the presence of the divine, the mountain snow is something that cannot be fully understood except through direct experience. This image serves as something of a metonym for Twain’s experience of the West more broadly—a variable landscape in which visions of indescribable beauty appear as if by surprise amid the tedium and hardship.

Interwoven into the author’s disappointments about the stage and the landscape, he also takes time to examine the human comedy that presents itself for his inspection, driven by The Volatile Economies of the West. The stagecoach route has become an ad hoc, traveling economy of its own by the time Twain finds himself riding it, and it has its own surprising hierarchies: Conductors are responsible for every aspect of the journey except actually driving the coach. Despite this heavier responsibility, they get no respect from the staff at the stage stations. In contrast, drivers are treated like royalty. They need to travel their routes under all weather conditions, day or night, and brave the risk of being shot by bandits or Indigenous warriors along the way, and the difficulty and danger of their jobs inspires a degree of hero worship.

Twain reserves his greatest contempt for the stage station operators, who seem to be only one step above criminals. They are kept in line by the even more fearsome division agents, many of whom are genuine desperados. In Chapter 10, Twain gives a biography of the legendary division agent Slade, whom he presents as a model of “what a Rocky Mountain desperado is, in his highest state of development” (80). Slade keeps his little corner of the stage route economy humming efficiently by murdering anyone who gets in his way until he himself is finally executed by vigilantes—evidence of the wild swings of fortune that characterize Twain’s portrayal of economic life in the American West.

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