document_title: Economy of Wales

question_text: what has helped the economy in wales improve in the 1990s

text: Economy of Wales

text: Economic history[edit]

text: 18th Century[edit]

text: Until the mid 18th century, economic development in Wales was restricted by its peripheral location, predominantly upland topography, bad communications and sparse population.[13] Commerce was most advanced in the small coastal ports that had regular commerce with Bristol or Liverpool; the other major sources of external trading contact were the drovers, who drove cattle from Mid Wales along Drovers roads for sale and slaughter in the English Midlands and London's Smithfield Market from the 14th century onwards. The drovers were instrumental in establishing the first banks in Wales, such as Banc Y Ddafad Ddu ("Black Sheep Bank") in Aberystwyth.[13]

text: Industrial development from the mid 18th century was stimulated by the potential of Wales' rich mineral deposits, the arrival of English entrepreneurs and financiers and advances in technology. The development of iron smelting by coke made the South Wales Valleys a natural industrial location during the Industrial Revolution and, from the mid 18th century, increased demand for metals and coal was generated first by war and later by the advent of steamships and railways.[13]

text: The northern rim of the South Wales Coalfield, focused on Merthyr, became Britain's foremost iron-producing district in the second half of the 18th century, while the south-western part of the coalfield, around Swansea, emerged as an important centre of non-ferrous metal smelting and tinplate production. Metallurgical industries required ever increasing quantities of coal, which was initially largely mined for this purpose. However, coal mining for sale developed in earnest from the mid 19th century and this was to become the signature industry of the region, transforming the economic and social landscape of the South Wales Valleys.[13]

text: 19th Century[edit]

text: Although a much smaller industry than coal, the slate industry in Wales became the world's largest supplier in the 19th century and had an enduring impact on the landscape of North Wales.[14] At its height in the 1890s, there were dozens of quarries employing around 15,000 men, although they suffered from the boom and bust nature of the construction industry.[14] As most of the workforce were drawn from rural, Welsh-speaking communities, slate quarrying was described by one historian as "the most Welsh of Welsh industries".[14]

text: 20th Century[edit]

text: Despite explosive growth in the early 1900s, by the 1920s it was apparent that Wales was facing economic difficulties, largely because of its reliance on older heavy industry rather the newer, growing light industry sectors that were becoming established in the more prosperous parts of England.[15] Even during a boom period at the start of the 20th century, Wales had a narrow economic base dependent on the labour intensive exploitation of natural resources. The Welsh export economy collapsed during the inter-war recession, a victim of increasing protectionism and the rise of new competitors overseas. As global terms of trade changed, unemployment in the South Wales Valleys soared to unprecedented levels during the early 1930s (up to 59% in Merthyr and 76% in Pontypridd), despite the exodus of 400,000 people from the region between 1921 and 1939.[16]

text: In the post-war era, the steel and tinplate industries consolidated on a smaller number of larger sites, such as the new works at Port Talbot and Llanwern.[17] The National Coal Board, created in 1947, tried to modernise the Welsh coal industry but the number of pits in South Wales shrank from 115 in 1953, producing almost 21 million tons, to 34 in 1981, producing 7.7 million tons.[17] Pembrokeshire and Swansea Bay became centres of the petrochemical industry and new light industry was attracted to locations throughout Wales.[17] Wales attracted an above average share of the foreign direct investment (FDI) into the UK from the 1970s onwards but many of the new plants established by foreign firms were essentially "branch factory" operations offering low-wage, low-skill employment opportunities.[18][19] In 1971 Sir Julian Hodge founded the Commercial Bank of Wales (later renamed Bank of Wales) but the company was later taken over by HBOS and the brand dropped in 2002.

text: In the post-war decades there was a shift towards service sector employment, which accounted for 60% of jobs by the 1980s, many of them held by women.[17] The concentration of official agencies in Cardiff increased the amount of bureaucratic public sector employment: Government regional policy brought various national bodies to Wales: the Royal Mint moved to Llantrisant, Companies House to Cardiff and the Driver and Vehicle Licensing Centre to Swansea.[17] From the 1970s on, the steel industry contracted, with works at Ebbw Vale, Shotton and East Moors in Cardiff closing and layoffs elsewhere. The early 1980s recession had a bigger impact in Wales than in other parts of the UK: between 1979 and 1982, Wales lost 130,000 jobs[17] and the employment rate fell to 62%.[20] Recovery started later in Wales, and structural changes left a legacy of high unemployment amongst older men, especially in the Valleys.[20]

text: 21st Century[edit]

text: Today, Wales remains a lagging region within the wider United Kingdom economy. Over the long term, output and productivity growth in Wales has been broadly in line with the UK and the developed world as a whole, although there are some unexplained gaps in particular service industries. What has marked Wales out is a low activity rate compared to other parts of the UK.[21]

text:
Gross Value Added (GVA)[22]

Year
£ million
£ per head
Index of £ per head (UK=100)

1989
19,445
6,810
85

1990
20,990
7,335
84

1991
21,724
7,561
83

1992
22,659
7,874
83

1993
23,697
8,218
83

1994
25,049
8,675
83

1995
26,388
9,135
84

1996
27,518
9,517
82

1997
28,672
9,904
80

1998
29,787
10,273
79

1999
30,736
10,596
77

2000
31,898
10,973
77

2001
33,525
11,520
77

2002
35,252
12,074
77

2003
37,262
12,712
76

2004
39,340
13,352
76

2005
40,711
13,784
76

2006
42,697
14,396
75

2007
44,263
14,853
74

2008
45,610
15,237
74

text: Sectors[edit]

text: Agriculture and forestry[edit]

text: In 2003, agriculture contributed £418 million to Welsh GVA, or 1.1% (including subsidies).[23] 1.6m hectares (around 77% of Wales' total land area) is used for agricultural production and an estimated 57,500 people are directly employed in the sector.[23] Farming is dominated by beef, sheep and the dairy sector, with the arable sector accounting for 10% of agricultural output.[23] Average farm size is 30–40 hectares, small by UK standards, and dominated by family-run enterprises.[23]

text: Forest and woodland makes up 14% of the land area of Wales and there are 4,000 jobs and in forest-based industries.[23]

text: The Welsh fishing industry is the smallest in the UK, with about 1,000 full-time and 400 part-time fishermen.[23] The minor role that the Welsh industry holds is largely due to its geographical isolation, weak distribution networks and the demise of the Wales distant-water fleet from the 1960s onwards.[23]

text: Manufacturing[edit]

text: Wales has a diverse manufacturing sector.[8] Heavy industry, once a mainstay of the Welsh economy, has largely been in decline over the past century but is still very apparent. Metal ore refining is a long established industry in Wales. As of 2007, Corus had manufacturing facilities at Port Talbot, Llanwern, Newport, Trostre, Shotton, Ammanford, Pontardulais, Tafarnaubach and Caerphilly, although only the Port Talbot Steelworks remains as a major integrated steelmaking plant.[24] Nearly all the tinplate and much of the aluminium produced in the UK are made in Welsh plants.[8]

text: Milford Haven has two oil refineries: around a fifth of United Kingdom capacity.[8]

text: Wales is an important producer of automotive components: Ford has a major engine plant at Bridgend, and BorgWarner has a major components plant in Kenfig, South Wales.

text: Timet has a plant in Waunarlwydd, Swansea, which is one of the world's major suppliers of titanium for jet engine blades and medical applications.[25]

text: During the 1980s and 1990s, a major growth sector in manufacturing was the electronics industry with over 130 North American and 35 Japanese companies establishing operations in Wales.[8] However, this is a characteristic of a "branch factory" economy where routine production is located in one region while higher skill activities are located in another.[10]

text: Major trading partners[edit]

text: Excluding intra UK trade, the European Union and the United States constitute the largest markets for Wales's exports. As part of the United Kingdom and the European Union, Wales fully participates in the single market and free trade area which exists across all EU member states and regions. Recently, with the high rates of growth in many emerging economies of southeast Asia and the Middle East such as China, UAE and Singapore, there has been a drive towards marketing Welsh products and manufactured goods in these countries, with China and Qatar entering the top ten destinations for Welsh exports in 2013.[26]

text:
Top 10 export destinations, 2017

Destination

Value

 Germany

£3.21 billion

 France

£2.73 billion

 United States

£2.29 billion

 Ireland

£1.04 billion

 Netherlands

£0.69 billion

 UAE

£0.56 billion

 Spain

£0.47 billion

 Belgium

£0.46 billion

 Canada

£0.36 billion

 Turkey

£0.35 billion

Source: Welsh exports: Fourth quarter 2015[27]

text: The total value of international exports from Wales in 2015 was estimated at £12.2 billion (2014: £13.4 billion). The top five exporting industries in 2013 were power generating machinery £4.0 billion (2013: £4.2 billion), petroleum, petroleum products & related materials £2.6 billion (2013: £3.8 billion), Iron & Steel £1.288 billion (2013: £1.3 billion), electric machinery £0.69 billion (2013: £0.7 billion), and professional and scientific services £0.346 billion (2013: £0.353 billion).[6]

text: Services[edit]

text: In recent years, the service sector in Wales has seen above average growth; however in 2005 its share of GVA was small compared with most other regions of the UK.[8] Wales does not have a favourable occupational structure, and a relatively high proportion of jobs are in public administration, health and education.[28] Compared to more prosperous parts of the UK, Wales lacks high value added service sector employment in sectors such as finance, business services and research and development.[29] This is partly due to a weaker agglomeration effect, due to the small size of towns and cities in Wales compared to some other UK regions and small countries.[10][21]

text: Tourism[edit]

text: With its mountainous landscape and numerous sandy beaches, Wales attracts significant tourism. In 2002, nearly 13 million trips of one night or more were made in Wales, generating expenditure of £1.8 billion. Of these trips, 11.9 million were made by UK residents and 0.9 million by overseas visitors.[8] Cardiff is the most popular destination for visitors to Wales, with 11.7 million visitors in 2006.[30]

text: In 2014, over 10 million domestic trips of one night or more were made in Wales, generating expenditure of £1.7 billion.[31]

text:
Wales' top 10 tourist attractions (2014)[32]

Attraction

No of Visitors

Wales Millennium Centre

1,197,566

The LC

774,617

St Fagans National History Museum

564,195

Folly Farm Adventure Park and Zoo

485,936

Cyfarthfa Castle Museum

481,907

National Museum Cardiff

442,972

Pembrey Country Park

440,000

Elan Valley Visitor Centre

400,000

Snowdon Summit Visitor Centre

393,432

Cardiff Castle

272,327

Source: Visits to Tourist Attractions in Wales 2014)[32]

text: Property[edit]

text: In November 2008, the average price of a house in Wales was £126,181, a fall of 11.7% since the previous year. The average house price in England and Wales as a whole was £161,883.[33] In August 2008, average house prices in Wales ranged from £109,000 in Blaenau Gwent to £238,000 in Monmouthshire.[34]

text: Infrastructure[edit]

text: Transport[edit]

text: In 2001, Wales had 1,708 km (1,061 mi) of trunk roads and motorways.[35] The M4 motorway, A449, A465, A48, A40, and A477 in the south, the A55 and A483 plus border links in the north, form part of the Trans-European Road Network.[35]

text: Many major English cities have direct rail connections to Wales. The South Wales coast as far as Swansea is served by the South Wales Main Line which passes under the Severn Estuary through the Severn Tunnel; the West Wales Line connects it to the Pembrokeshire ferry ports. The main North-South railway line is the Welsh Marches Line between Newport and Shrewsbury enabling direct services between Holyhead and Cardiff. An urban rail network, serving 81 stations, is focused on the capital, Cardiff. Mid and North Wales (away from the coast) are served by a limited number of branch lines, some of which connect with revived narrow gauge railways.

text: Wales has ten main commercial ports.[36] Milford Haven is the fourth largest port in the UK in terms of tonnage and the busiest for oil products.[36] Newport is the busiest UK port for iron and steel and Port Talbot is the third busiest for ores.[36]

text: Cardiff Airport is the only Welsh airport offering international scheduled flights. In 2007, Anglesey Airport became a public airport.

text: Telecommunications[edit]

text: On 28 November 2006, a trial of a new telecommunications network technology was rolled out in the village of Wick in the Vale of Glamorgan. The new network BT 21CN, offers broadband data transfer speeds of up to 24Mbit/s.

text: Energy and Utilities[edit]

text: The average annual production of electricity in Wales is some 3,800 MW. Average annual electricity consumption is just over half of the annual production making Wales a net exporter of electricity.[37] Electricity generation encompasses a broad mix of technologies including Nuclear (e.g. Wylfa), Coal (e.g. Aberthaw), Gas (e.g. Baglan Bay), Wind (Cefn Croes) and hydro-electricity (Dinorwig).

text: Government spending and economic management[edit]

text: Taxation and public spending[edit]

text: Fiscal and economic policy are currently reserved matters determined at Westminster, however from 2018 increased tax and borrowing powers will be devolved. The think-tank Oxford Economics estimated that in 2006–07, tax revenues of £19.3bn were raised in Wales, compared to Government expenditure of £28.2bn – a fiscal gap of £9.1bn.[38] In 2001–02, public expenditure per head in Wales was higher than most of the English regions, but lower than in Scotland or Northern Ireland.[39]

text: Economic development[edit]

text: According to the Welsh Government's economic development strategy, the role of the public sector in the economy is to help create a stable and favourable business environment, promote skills and innovation (through for example apprenticeships and Design Wales), address market failures and invest in economic infrastructure including transport and information technology.[10] Aside from fiscal policy, energy policy, employment law, social security and various other aspects of market regulation are reserved to the UK Government.

text: Public sector employment[edit]

text: The public sector is also an important employer in Wales. In the year ending 30 June 2008, 386,000 people (28.8% of the Welsh workforce) were employed in the public sector, with the highest number (49,000) in Cardiff and the highest percentage of the local workforce (35.4%) in Swansea.[40]

text: Controversies in economic policy[edit]

text: The decline in Welsh GDP per person (relative to the UK average) over recent years has prompted policy debate. There have been suggestions – for example, by Plaid Cymru[41] – that Wales should attempt to emulate the Irish 'Celtic Tiger' model, particularly its low corporation tax rates, to stimulate investment and growth. However, economists such as Nicholas Crafts[29] and John Bradley[42] have argued that the low Irish corporation tax rate was only effective in the very specific demographic and historical circumstances of Ireland in the late 1980s and 1990s, and that such a policy in Wales' very different economic context would not only require political independence, but could be relatively ineffective and/or require difficult policy choices between higher personal taxes and lower public spending.

text: In a report for the Institute of Welsh Affairs in 2003, Phil Cooke of Cardiff University argued that the Welsh Government had responded to the loss of productivity in manufacturing by substituting new jobs in the public sector, making Wales increasingly dependent on fiscal transfers from Whitehall. Cooke suggested that a relatively weak devolution settlement had prevented the Welsh Government from developing innovative economic policies, especially when compared to Scotland.[43] However, critics including former Welsh Secretary Ron Davies[44] and John Lovering, another Cardiff academic, claimed that Cooke's argument that a more powerful Assembly was a necessary precondition to more effective economic policies was a non-sequitur.

text: Labour force[edit]

text: According to the Welsh Government bulletin of economic statistics for November 2010,[45] the Labour Force Survey estimates for the 3 months to September 2010 show that:

text:
The employment rate in Wales was 67.1%, unchanged from the same period a year earlier. The UK average was 70.8%.
The ILO unemployment rate in Wales was 8.1% of the economically active, down from 8.8% in the same period a year earlier. The UK average was 7.7%.
The economic activity rate in Wales was 73.3%, down from 73.7% in the same period a year earlier. The UK average was 76.8%.
The claimant count rate in October 2010 for Wales was 5.0% of the workforce, down 0.7% on October 2009.  The UK average was 4.5%.

text: For statistical purposes, the Office for National Statistics divides Wales into 26 Travel to Work Areas, collections of wards for which "of the resident economically active population, at least 75% actually work in the area, and also, that of everyone working in the area, at least 75% actually live in the area". Some of these areas span the border with England.[46]

text: Small and medium-sized enterprises made up over 99% of the 190,000 businesses in Wales in 2006,[47] but accounted for less than 60% of employment.[48]

text: Alongside official national statistics a number of respected private sector surveys are used to understand how the economy is performing. These include the British Chambers of Commerce Quarterly Economic Survey[49] This survey has information on the performance of Welsh businesses since 1989.

text: Economy by region[edit]

text: According to Eurostat figures there are huge regional disparities in the UK with GDP per capita ranging from €15,000 in West Wales to €179,800 in Inner-London West. There are 26 areas in the UK where the GDP per person is under €20,000.[50]

text: These areas are the following:

text:
4.5 million (8.5% of English) live in these deprived English districts. 11 of these deprived regions in England: Durham, Northumberland, Greater Manchester North, Blackpool, Sefton, Wirral, Barnsley Doncaster Rotherham, South Nottinghamshire, Dudley, Outer London – East North East, Torbay
1.4 million (45% of Welsh) live in these deprived Welsh districts. 6 of these deprived regions in Wales: Isle of Anglesey, Conwy & Denbighshire, South West Wales, Central Valleys, Gwent Valley, Powys
1.1 million (20% of Scottish)live in these deprived Scottish districts. 5 of these deprived regions in Scotland: Clackmannshire & Fife, East & Mid Lothian, East & West Dumbartonshire, East & North Ayrshire, Caithness Sutherland & Ross,
1.1 million (60% of Northern Irish) live in these deprived Northern Irish districts.3 of these in Northern Ireland: Outer Belfast, North of Northern Ireland, West & South of Northern Ireland.

text: Comparison with France and Ireland[edit]

text: In Wales, GDP per capita varies from €15,100 in Isle of Anglesey to €30,400 in Cardiff.

text: When compared to France, GDP per capita ranges from €18,900 in French Overseas Territories to €92,300 in Hauts-de-Seine and France has only 4 regions where GDP per capita is under €20,000. This suggests the level of social equality is much greater in France than in the UK.

text: When compared to the Republic Of Ireland, GDP per capita ranges from €16,980 in the Irish Midlands to €57,200 in Dublin.This region like Wales receives substantial funding from the European Union.

text: Regional variations[edit]

text: In recent years, Cardiff, the northern and southern coastal belts and some rural parts of Wales have experienced the biggest increase in employment, while the South Wales Valleys and other industrial towns have suffered a decline. This pattern probably reflects a combination of

text:
the increasing importance of quality of life factors in location decisions;
the greater role played by the largest conurbations as centres of service sector businesses and
the effects of skill-biased technical change on the demand for labour, disadvantaging "skills poor" declining industrial districts.[51]

text: Average earnings and employment vary considerably across Wales. They are both generally higher in east Wales, especially in urban areas, but lower in south west Wales and the Valleys, although earnings in Bridgend and Neath Port Talbot, which are still centres of skilled manufacturing employment, are relatively high. In north and north west Wales, earnings are low but the employment rates are above the Welsh average.[10]

text: A significant part of the earnings (and value added per job) variations within Wales are due to structural factors such as economic mass and occupational mix rather than like-for-like lower pay or productivity.[10] Cardiff, with over 400,000 people, benefits from its size, capital status, a hinterland in south east Wales and good connections to London and the M4 corridor.[10] Cardiff is the primary location for service sector activities in Wales, with 26% of Welsh service sector output and 22% of Welsh service sector employment, compared to 19% of all employment in Wales.[52] North east Wales benefits from proximity to Cheshire, Greater Manchester and Merseyside and there is significant cross-border commuting. The Valleys and the western areas of Wales have less economic mass and are more distant from major economic centres. These are some of the poorest regions in Europe and qualify for Objective One funding.

text: Many parts of Wales suffered from a continuous decline in heavy industry over the 20th century, culminating in the virtual disappearance of coal-mining in the 1980s.[53] The demise of 'smokestack' industries left a legacy of high unemployment, and although unemployment has declined in recent years, unemployment in West Wales and the Valleys still tends to be higher than the Welsh average and economic inactivity (a form of hidden unemployment) continues to be a major problem in these areas. Merthyr Tydfil and Neath Port Talbot have some of the largest proportions of people in the UK not working due to long-term illness or disability, though some believe that in reality many people classified as "unable to work" through sickness are low-skilled workers encouraged to exit the labour market by the benefits system as well as declining demand for their skills.[10][54]

text: The figures below for 2013 come from Eurostat[55] and are denoted in Euros.

text:
Regions (NUTS3)
GDP €
GDP per capita €

Isle of Anglesey
€1.1 bn
€15,000

Gwynedd
€2.9 bn
€23,700

Conwy & Denbighshire
€4.1 bn
€19,700

South West Wales
€7.0 bn
€18,100

Central Valleys
€5.6 bn
€18,900

Gwent Valleys
€6.0 bn
€17,600

Bridgend & Neath Port Talbot
€5.8 bn
€20,600

Swansea
€5.5 bn
€23,100

Monmouthshire & Newport
€6.3 bn
€26,500

Cardiff & Vale of Glamorgan
€14.6 bn
€30,400

Flintshire & Wrexham
€7.4 bn
€25,700

Powys
€2.6 bn
€19,600

TOTAL

€ 68.8 bn

€22,300

text: The GDP per head for Wales was €22,300, which was 84% of the EU average of €26,600, whereas for the UK as a whole this figure was 118%. The region of Wales with the highest GDP per head was Cardiff & Vale of Glamorgan with 114% of the EU average, and the region with the lowest GDP per head was Isle of Anglesey with 57% of the EU average.


question_text: who said what we have here is failure to communicate

root

text:
"What we've got here is failure to communicate"

The Captain (Strother Martin) delivers the quote.

Character
The Captain
Luke

Actor
Strother Martin
Paul Newman

First used in
Cool Hand Luke

Voted No. 11 in AFI's 100 Movie Quotes poll

tag: table

text: The phrase "What we've got here is failure to communicate"[1] is a quotation from the 1967 film Cool Hand Luke, spoken in the movie first by Strother Martin (as the Captain, a prison warden) and, later, paraphrased by Paul Newman (as Luke, a stubborn prisoner).

tag: p

text: The context of the first delivery of the line is:

text: The Captain's line is often misquoted as "What we have here is a failure to communicate".[2] This is actually a quote by Zero Mostel in the 1969 comedy movie The Great Bank Robbery.

text: Towards the end of the movie, Luke takes a final stab at freedom – stealing a dump truck and taking flight. After his dramatic escape from the Florida chain gang prison, Luke abandons the truck and enters a church, only to be surrounded by police moments later. Feeling that his life is no longer worth living, he walks to a window facing the police and mocks the Captain by repeating the first part of his speech ("What we got here is a failure to communicate.").[2] He is immediately shot in the neck by Boss Godfrey.

text: The phrase ranks at number 11 on the American Film Institute list, AFI's 100 Years... 100 Movie Quotes.[1]

text: In popular culture[edit]

text:
When Strother Martin hosted Saturday Night Live on April 19, 1980 (his last television appearance before his death that August), Martin, in one of the skits, played the strict owner of a French language camp for children, parodying his Cool Hand Luke role. He paraphrased his line from the movie as, "What we have here is failure to communicate BI-LINGUALLY!"
Guns N' Roses included the quotation, sampled from Martin's speech in the film, in the opening of their song "Civil War" (1990), and later remixed it in "Madagascar" (2008).[3][4][5]
Hank Moody, portrayed by David Duchovny, quotes this phrase in Californication (TV series)'s Season 2, Episode 11, "Blues from Laurel Canyon".

tag: ul


document_title: Gin rummy

question_text: how much do aces count in gin rummy

question_tokens: how much do aces count in gin rummy

text: Gin rummy

text: History[edit]

text: According to the magician and writer John Scarne, gin rummy evolved from 19th-century whiskey poker and was created with the intention of being faster than standard rummy but less spontaneous than knock rummy.[2] John Scarne's theory deriving rummy from poker via whiskey poker has not gained general acceptance.[3]

text: Deck[edit]

text: Gin rummy is played with a standard 52-card pack of cards. The ranking from high to low is King, Queen, Jack, 10, 9, 8, 7, 6, 5, 4, 3, 2, Ace.

text: Objective[edit]

text: The objective in gin rummy is to score points and reach an agreed number of points or more, usually 100, before the opponent does.

text: The basic game strategy is to improve one's hand by forming melds and eliminating deadwood. Gin has two types of meld: Sets of 3 or 4 cards sharing the same rank, e.g. 8♥ 8♦ 8♠; and runs of 3 or more cards in sequence, of the same suit, such as 3♥ 4♥ 5♥ or more. Deadwood cards are those not in any meld. Aces are considered low—they can form a set with other aces but only the low end of runs (A♠ 2♠ 3♠ is a legal run but Q♠ K♠ A♠ is not). A player can form any combination of melds within their hand, whether it contains all sets, all runs, or a mix of both. A hand can contain three or fewer melds to knock or form legal gin.

text: The deadwood count is the sum of the point values of the deadwood cards—aces are scored at 1 point, face cards at 10, and others according to their numerical values. Intersecting melds are not allowed; if a player has a three-card set and a three-card run sharing a common card, only one of the melds counts, and the other two cards count as deadwood.

text: Dealing[edit]

text: Dealership alternates from round to round, with the first dealer chosen by any agreed upon method. The dealer deals 10 cards to both players starting with their opponent, and then places the next card in the deck face up. This begins the discard pile. The face down pile is known as the stock pile.

text: Playing[edit]

text: On the first turn of the round, the non-dealing player has first option of taking the upcard on the discard pile or passing. If the non-dealing player takes the upcard, he or she must then discard a different card to the discard pile. The player acting second can take the top card from the pile of his or her choice. However, if the non-dealing player passes the upcard, the dealer is given the opportunity to take the upcard or pass. If the dealer also passes, the non-dealing player must draw from the stock pile, then the next turn and after, players can draw from the pile of his or her choice.

text: On each subsequent turn, a player must draw either the (face-up) top card of the discard pile, or the (face-down) top card from the stock pile, and discard one card from his or her hand onto the discard pile.

text: Players alternate taking turns until one player ends the round by knocking, going Gin, or until only two cards remain in the stock pile, in which case the round ends in a draw and no points are awarded. The game ends when a player reaches 100 or more points (or another established amount). In tournament rules the game is played in best of five with 250 points per game.[4]

text: Knocking[edit]

text: In standard gin, only a player with 10 or fewer points of deadwood may knock. Knocking with 0 points of deadwood is known as going Gin or having a Gin hand, while knocking with deadwood points is known as going down.[5]

text: To knock, the knocking player discards as usual, announces knocking (generally by simply placing a discard face down), and the hand is laid out with the melds clearly indicated and deadwood separated. The other ("defending") player is then entitled to lay out any melds in his or her hand and can then lay off any of his or her remaining deadwood cards that fit into the knocking player's melds, provided that the knocking player does not have a gin hand.

text: For example, the knocking player has a meld of three Kings.  The defending player's deadwood has a king.  The player can lay off that king, reducing the deadwood count by ten. The knocking player can never lay off his or her deadwood into the defending player's melds. Once a player knocks or declares gin the round is over and scores are tallied, players cannot draw.

text: The knocking player then subtracts his or her deadwood points from the defending player's deadwood points. The result is the number of points the knocking player receives. An undercut occurs if a player knocks and the defending player's deadwood points are less than or equal to the knocking player's. In this case the defending player receives an undercut bonus (usually 25 points) plus the difference in deadwood points. If the defending player has less or equal deadwood to the knocking player's deadwood after laying off any of his or her deadwood, then it is still a valid undercut.

text: Gin[edit]

text: If all 10 cards in a player's hand fit into melds and thereby the player has no deadwood, he or she can choose to go Gin in which case the round ends and the player going Gin receives a Gin bonus of 25 points (or another established amount) plus any deadwood points in the opponent's hand. The defending opponent can only lay out his or her melds and cannot lay off any deadwood into the melds of an opponent that has declared Gin. A player can go Gin with a hand of three or fewer melds as long as all cards fit into a meld. Players can also have an 11 card gin, see Big Gin Variant below.

text: Big Gin[edit]

text: Gin hands normally consist of 10 cards. However, if a player chooses to draw so that 11 cards fit into melds, he or she can declare Big Gin in which case the player receives a Big Gin bonus of 31 points (or another established amount, commonly 50 points instead of the standard 31 points, depending on rule set) plus any deadwood in the opponent's hand.

text: Scoring[edit]

text: Aces are scored at 1 point, face cards at 10, and all other cards are scored at their numerical values. The number of points awarded for bonuses may vary from region to region.  No matter what the bonus amounts are, points are scored in Gin for the following:

text: Variations[edit]

text: Straight gin[edit]

text: In Straight gin players are required to play until one of them can go gin. Knocking is not allowed. Scoring and rules remain the same as standard Gin Rummy.

text: Mahjong gin[edit]

text: Similar to Straight gin, knocking is not allowed.  However, more than one card may be taken, in order, from the top of the discard pile.  If more than one card is taken, the lowest position card taken must be used in a hand:  i.e. <bottom> 8♠ 3♥ 5♥ <top of discard>  8♠ is the lowest position card and must be used in a hand; continue with 1 discard).  Cards are shown to the table, with opponents being able to add on to straights of the same suit or finish a three of a kind with the fourth card for points.  After a player has gin, points are added, with cards on the table being added up and cards in hand being subtracted.  The player, who gins receives 25 addition points, 2-9 = 5 points, 10-K = 10 points, A = 15 points.

text: Oklahoma gin[edit]

text: In this version of gin rummy, the value of the first upcard is used to determine the maximum count at which players can knock. If the upcard is a spade, the hand will count double. So if the first upcard is a 4, you can knock and go out with only 4 or fewer points in your hand; and if the 4 was a spade, you would get double points that hand.

text: Another version in this variation (mostly in match play) and in Hollywood gin (see below), a second deck of cards will be used to determine the knock value of a hand. The knock value card will be dealt from the bottom and turned over on top. Above rules apply but both players are dealt ten cards with the last hand winner picking first from the deck.

text: Hollywood gin[edit]

text: This is a scoring style, not a rules change to the game of gin. In Hollywood gin scoring is kept for three different games at the same time.  A player's first win will be recorded in their column in Game One. A player's second win will be recorded in their columns for both Game One and Game Two. Their third win will be recorded in their column for all three games.

text: Hands are played until all three games are finished.

text: Single match[edit]

text: When a single match is to be played, the players will continue to play rounds until one player has 100 points or more. This player wins the match.

text: Multi-match[edit]

text: In multi-match games, match scores are reset to zero with the start of each match, while game scores accumulate until a predetermined winning score is reached, perhaps 500 or higher. Each individual match ends when one player scores 100 match points. At the end of the match, players' match scores are credited toward their game scores, as well as:

text:
25 game points for each individual round won,
100 game points to the winner of the match, and
100 bonus game points to the match winner if the loser won no rounds.

text: Notable players[edit]

text:
Stu Ungar, widely regarded as the greatest gin rummy player of all time, described by many as having a clairvoyant ability to see his opponents' hands.[6][7]
Bill Ingram, winner of the International Gin Rummy Tournament of Champions during the late 1990s.[7]
Harry "Yonkie" Stein, a renowned big-money player from Canada, regarded as one of the top players of his time.[8]
John Hainline, a greeting-card distributor from San Francisco who has won more than 30 gin rummy tournaments and is considered among the best players after Stu Ungar's death.[7]
Drew McGlinchey is considered the best current Rummy player,[by whom?][needs update] champion of the 2013 Fall Classic and 2016 Holiday Classic in Las Vegas[citation needed]
Ernie Kovacs, the comedian and television pioneer, wrote a book in 1962 called "How to Talk at Gin"
The villain Auric Goldfinger cheats at gin rummy in the key introduction scene of the James Bond film Goldfinger from 1964, with the help of a girl looking at the opponent's cards with binoculars.
In The Bucket List Edward and Carter play gin several times, and always Carter wins.


document_title: Eric Northman

question_text: did eric northman die in season 6 finale

text: Eric Northman

text: Human life[edit]

text: In the early books, little was revealed about his past. In the ninth book, Dead and Gone Eric revealed details about his human life as a Viking. He was deemed a man at the age of twelve. At sixteen he married Aude, his brother's widow. The couple had six children, but only three were living at the time of his turning, two boys and a girl. Aude and their sixth child died of a fever shortly after the birth when Eric was in his early twenties. It is revealed in the television series that the vampire king of Mississippi murdered his entire family before stealing his father's Viking crown. In the books, he was ambushed one night by a Roman vampire named Appius Livius Ocella and subsequently turned. In the television series, he was made a vampire by Godric.[1] In the television show, it is also shown that Eric was a Viking prince, in the novels Eric says that his father was a chief. The name "Eric" or "Erik" comes from Old Norse and means "One ruler" or "eternal ruler". The name "Norseman" was the name given to people who could speak the Old Norse Language, especially in Sweden, Norway, Finland and Denmark. The name "Norseman" means "man from the north", hence Eric's last name being "Northman".

text: Physical description and personality[edit]

text: In the first novel, Dead Until Dark, Sookie Stackhouse thinks Eric Northman is a "hunk." Sookie describes him as “handsome, in fact, radiant; blond and blue-eyed, tall and broad shouldered. He was wearing boots, jeans, and a vest. Period. Kind of like the guys on the cover of romance books.”[2] He’s approximately six-foot-four. When Sookie sees him naked for the first time in Dead to the World, she thinks, “if there were an international butt competition, Eric would win, hands down – or cheeks up.”[3] In the series 'True Blood' he is tall with long blonde hair. By the end of the first season, and a little bit into the second, Pam (his progeny) cuts his hair shorter than expected because he gets blood in it. Eric is always shown in dark blue jeans with a black singlet and a black leather jacket. When his hair is cut shorter, he parts it and combs it diagonally backwards. His personality in the series is mostly the same, Eric Northman is ruthless and does not care much for human life. His relationship with his progeny, Pam, is where you see the softer side of him come through. When they face difficult challenges and situations, Eric would put her needs above his own. By the middle of season 2 Eric begins to pursue Sookie Stackhouse because of his interest in her abilities, and by the end of season 2 Eric Northman has cunningly tricked her into drinking his blood. Near the beginning of the third season, it is implied that he is beginning to develop feelings for her, even helping her when it is disadvantageous for him to do so. Melanie

text: Eric is portrayed in the books as being somewhat arrogant, but having a true joie de vivre.[4] He is confident almost to a fault, once reprimanding a thug in the third book, Club Dead, for threatening Sookie and referring to her as his "future lover" although no potentially romantic relationship between Eric and Sookie yet existed.[5] He can be manipulative to suit his needs. He is not above using deceit though it seems to be a last resort when it comes to Sookie. However, he is typically upfront regarding any action he takes and if he is manipulative he is very frank and open regarding his wishes. Due to his frank nature, Sookie comments to herself how she can always know where she stands with Eric.[6] Indeed, Sookie frequently remarks how conversations with Eric are seldom single layered and how he never says something without reason.[7] He is not sentimental in the least but shows a great deal of concern over Sookie and her happiness and well-being, perhaps making the relationship between Eric and Sookie all the more impressive. Sookie believes that, although Eric has created a modest, but thriving business empire and carved out a position of authority in the delicate vampire hierarchy, at heart he remains a born-Viking warrior, ready to leap into battle at any instant.

text: Work and position within the vampire hierarchy[edit]

text: The vampires in Charlaine Harris' world are organized according to a feudal system with each state divided into "Areas", each of which are governed by a sheriff who then owes allegiance to the queen or king of that particular state. Some states, like California, are so large and so heavily populated with humans (and therefore vampires who prey on humans) they are divided into multiple kingdoms. For example, what humans see as California, vampires see as California Sacramento, California San Jose, and California Los Angeles.[8] Louisiana is not such a state and is ruled by one monarch. However, it is possible for a monarch to control multiple states. At one point in the series Louisiana is controlled by the same vampire who also controlled Arkansas. Later in the series a different ruler controls Louisiana, Arkansas, and Nevada.

text: Eric is the most powerful vampire in Area Five of northern Louisiana: a territory that includes the small town of Bon Temps. Eric serves as Sheriff of area 5, or local boss, of that area and owns a vampire bar in Shreveport called "Fangtasia," that also serves as his headquarters. He runs the bar with the help of his vampire progeny Pam and a few of his underlings, or vampires who owe allegiance to Eric as their sheriff. Eric takes his responsibilities and role within the vampire hierarchy very seriously. In the sixth novel, Definitely Dead, Eric mentions that he has paid a significant fine to the arbitrator for killing a former Fangtasia bartender, Long Shadow. This demonstrates that he did not hide his crime, as killing another vampire is a "serious thing.".[9] Precisely what a Vampire Sheriff does, aside from owe allegiance to their monarch, do their monarch's bidding, and rule their Area, is still somewhat unclear. Sookie makes a conscious effort not to pry too hard into vampire affairs and Eric does nothing to encourage her learning much more than she already knows. Eric surprised Sookie in the tenth book, Dead in the Family, when he explained the vampire hierarchy in more detail, simply so she, as his wife according to vampire law, was better informed for her safety.

text: The state of Louisiana was in disarray after the results of Hurricane Katrina, and after queen of Louisiana, Eric's hierarch, was crippled in an explosion and eventually killed by the vampires of Nevada under Felipe de Castro's order. Eric was spared since he was the most practical of the Sheriffs and had one of the largest money makers, Bill Compton, living in his area and owing fealty to him. As the last surviving sheriff of Louisiana, Eric pledges his allegiance to the new regime in order to protect those under him, a tactical move that highlights his capabilities both as a leader and a political survivor. Had Eric resisted, he and all of the vampires serving under him (possibly with the exception of Bill) would have been killed, including Sookie. After accepting the new King, Felipe de Castro, he is then allowed to maintain control of his area and his followers when the other sheriffs of Louisiana and a number of their minions were all killed. Under the new regime, Eric has spent a significant amount of time acclimating himself to his new overlords. Despite his oath, however, Eric remains ever vigilant for opportunities to either further secure his position or free himself entirely from scrutiny of Felipe's Louisiana representative, Victor.

text: Relationship with Sookie Stackhouse[edit]

text: The author introduces Sookie to Eric in her first novel, Dead Until Dark. Eric then appears in all the subsequent novels and has either saved or attempted to save Sookie's life in every book. From the second book onward, Eric and Sookie share at least one intimate moment together per book. In the second one there are several: when he asks her to suck out a bullet in his chest that he took for her, and when Sookie invites him to an orgy they have to play the part; in the third, they almost have sex before being interrupted by Bubba and also when he gives her blood after she is staked; the fourth, they experience a sexual relationship when he is cursed with amnesia, which he forgets all about promptly after being un-cursed; the fifth, they kiss; the sixth, during battle Eric sneaks a kiss on Sookie after saving her; the seventh, they exchange blood tying them to each other in a blood bond and Eric kisses her; the eighth, they kiss again after Eric smells fairy blood all over Sookie; and in the ninth, they consummate their relationship after being wed by vampire laws and seem to be moving in the direction of an official relationship. In the later books, she has also saved his life several times before.

text: After appearing to develop an affection for Sookie in the third book in the series, Club Dead, Eric has a brief romance with her in Dead to the World, the fourth book, though, due to a curse, he lost his memories of that time until From Dead to Worse, the eighth book. In the eighth book, after sitting in Sookie's room, he reveals that he remembers the days he spent with her when the curse was put on him. He asks her to discuss it, and she refuses. He seemingly likes Bill Compton but feels arrogantly competitive in an emotional battle for Sookie's affections.

text: In the seventh book, All Together Dead, when Sookie is accosted into forming a blood bond with Andre, another powerful vampire, Eric steps in opportunistically as the lesser of two evils and bonds with her himself. A blood bond is formed when a human and vampire exchange blood by drinking it from them. Vampire blood can heal any human wounds within seconds as can human blood do the same for vampires.

text: In Dead and Gone, Eric sends Sookie a velvet parcel that he instructs her to give to him in front of King Felipe de Castro's representative, Victor Madden. Without looking inside the parcel first, Sookie presents Eric the bag which contains a ceremonial knife that is used in marriage ceremonies. The king's representative reveals that the act of giving and receiving the knife means that Eric and Sookie are pledged to one another. Eric claims that he deceived Sookie because the King of Nevada had the power and desire to take her away from her home. Because they are wed, Eric is the only vampire that can have access to Sookie on pain of final death. He also reveals that the curse that had been placed on him made him unconsciously seek out the presence of his heart's desire (Sookie). In "Dead in the Family" Eric and Sookie are in an actual relationship, and Eric admits that he sees Sookie as his wife in the only way that matters to him, which left her puzzled.

text: In the 12th Sookie Stackhouse novel, Deadlocked, Sookie and Eric's relationship takes a turn. Eric was promised by his maker, Appius, to marry the Queen of Oklahoma, and he has spent much of his time figuring out how to get out of the promise. Sookie wants Eric to choose her outright and Eric explains that he just can't ignore a command from his maker even though he is dead. They do not see each other too much in the book; Eric does tell Sookie that she has the power to make him stay, which she finds out near the end of the book that he knows about her cluviel dor which will grant her one wish. She ends up using it at the end of the book to save Sam Merlotte's life and Eric just walks away after he sees this. The book ends with them basically in the same spot, not knowing if Eric is going to marry the Queen of Oklahoma or stay with Sookie.

text: In the 13th Sookie Stackhouse novel, Dead Ever After, Eric and Sookie's relationship has crashed and burned. Eric is set to officially marry Freyda, the Queen of Oklahoma, and he has been banned from ever seeing Sookie again. Also, Sookie has been banned from Fangtasia and Oklahoma. In one of the last conversations Eric and Sookie have, he tells her that he was considering making her a vampire even though she never wanted to become one. By the end of the novel, Eric is in Oklahoma with his new wife and without either of his progeny.

text: Television portrayal[edit]

text: In True Blood, an HBO series based on the earliest books in the series, the character of Eric Northman is played by Swedish actor Alexander Skarsgård. Some details of the character are portrayed somewhat differently on True Blood than in the books. In the series, Eric is created by Godric, with whom he shares a deep bond of loyalty and devotion. In season 2 Godric commits suicide by exposing himself to sunlight, causing Eric to shed bloody vampire tears, however, in the novels he cries for the first time in book 9. In the series, Bill, rather than Eric, saves Sookie from Long Shadow (in the books Eric kills him). Eric has not demonstrated the outward concern for Sookie that he exhibited in the early novels, but he appears to be developing an uneasy, guarded affection for her and the series seems to portray a reluctance on his part to show people, particularly Sookie, his genuine emotions. Often Eric has presented himself to Sookie as violent, arrogant, mischievous and consciously manipulative. Thus far in the series he has usually acted in a manner with little apparent concern for Sookie's feelings or immediate safety, although ultimately he seems to protect her.

text: However, his growing feelings for Sookie are showcased in episode 4 of Season 3 when he daydreams about Sookie. After the daydream he spurns Yvetta and Pam looks on at him concerned. In episode 10, Eric kissed Sookie, after proclaiming that if he were to die a true death without having at least kissed her, that would be his greatest regret. He chained her up in his basement a few minutes later as bait for Russell. He again reveals his guarded affection for her when prompted by Russell to drink her blood, he hesitates and strokes her affectionately on the cheek. Finally, in the season three finale, he tells her that he regrets seeing her in such pain, referring to her heartbreak over ending her relationship with Bill- although he was the one who deliberately gave her the information that caused her to banish Bill from her house.

text: Eric's back story is more deeply explored in Season 3, as his youth and human life as a Viking prince was shown; his family was slaughtered in their castle by a pack of werewolves, under the command of the ancient vampire Russell Edgington. Eric gave his dying father a vow to avenge them all. During World War II, he and Godric were shown tracking Russell's wolfpack across Germany disguised as SS officers, though they never found Russell himself.

text: In Season 3, when Eric defects to Russell Edginton (now the King of Mississippi) instead of Queen Sophie-Anne in an effort to save Pam from torture by the Magister, he notices a crown in Russell's antique collection that he recognizes as his father's, stolen the night of the attack. Realizing Russell is the target he has sought for over 1,000 years, he continues to play up his loyalty to Russell to keep him from becoming suspicious, even displaying callous indifference to Sookie when she is captured and asks for help. However, later on, when Russell is attacking Bill and Sookie with his wolves, Eric murders his progeny and husband Talbot; Russell, sensing Talbot's death, is driven insane by grief and rage. He hunts down Eric and prepares to kill him until Eric reveals that he can show Russell how to daywalk, Russell's oldest obsession. After consuming much of Sookie's blood against her will (which visibly discomforts Eric) they are indeed able to daywalk, but it wears off very quickly; Eric cuffs Russell to himself with silver, intending for both of them to burn. Sookie brings Eric back inside and, at the request of Eric, retrieves the badly-injured Russell as well. Eric only spared Russell because he thought death would be too merciful for him; after knocking out one of his fangs, he buried the crippled vampire in silver chains and wet concrete, intending to let him starve in agony for 100 years but never die.

text: In Season 4, we see the relationship of Sookie and Eric develop after he loses his memory to the witch coven; first, Sookie shelters him in her house from Bill (though the house is technically Eric's). Endeared by the new Eric's innocence and his regret over his previous crimes as a vampire, Sookie eventually enters a sexual relationship with him, though in the Season 4 finale, Sookie is choosing between Eric and Bill, and chooses neither. Sources have said of Season 5 that Sookie's "independent streak" will continue (as Alan Ball, executive producer) claimed in an interview concerning the upcoming season. By the end of the season, Eric has regained his memories, though he retains his memory and part of the gentler personality he had when he was with Sookie.

text: In Season Five, after previously killing Nan Flanagan, Eric and Bill are arrested by the Vampire Authority. However, Nora, Eric's 'sister' (with whom he also has a sexual history) rescues them. Later, all three are caught by the Authority. While Eric steers clear of the Sanguinista movement stirring in the authority and attempts to escape, Bill accepts the Book of Lilith and betrays him. Eric manages to successfully escape with Nora and searches for Sookie to enlist her help; in the process, he manages to kill his archenemy Russell Edgington, fulfilling a vengeance that he began when he was still human. He attempts to save Bill but apparently fails. Later, he returns Sookie's house to her for her protection; while she is grateful to him and considers him a friend, she still banishes him from the house, and Eric tells Nora they will stay away from her now.

text: In Season 6, Eric finds his latest threat to be the humans, especially Governor Truman Burrell, who declares war on vampires. In an effort to challenge the Governor's stance on vampires, Eric turns Willa Burrell, Truman's more open-minded daughter. Regardless, the Governor has them both placed in "Vamp Camp", where Eric is later forced to watch his sister, Nora, receive a lethal injection of "Hep V". Eric uses Willa to escape the camp (promising to get her and Pam out) and takes Nora to the Lilith-enhanced Bill, but they are unable to save her. Devastated by her death, Eric violently slaughters the humans running the concentration camp to seek revenge and free both his progenies, among others. Notably, Eric spares Jason Stackhouse, though he kills the vampire Steve Newlin, stating "Every time I lost someone I loved, you were there." After freeing the imprisoned vampires, Eric flies off to grieve his sister Nora's death in solitude. In the finale, Warlow, the fairy-vampire hybrid whose blood made it possible for Eric and the other vampires to walk in the sun, is killed by Jason to save Sookie. When Warlow dies, the effects of his blood wears off in the vampires who drank it and they are no longer able to walk in the sun. Eric is shown in the sun on a mountain top in Åre, Sweden when Warlow's blood wears off, causing Eric to burn.

text: In Season 7, Pam tracks down Eric, who somehow avoided meeting the true death. However, he has been infected with the Hepatitis V virus. After learning that Sarah Newlin is still alive, he and Pam decide to go after her. Eric and Pam soon learn that Newlin drank the antidote and it permeated her body, making Sarah a living antidote for Hep V. They are forced to work with Yakuza ninjas from the Yakanomo Corporation (the company which originally made True Blood) in order to find her, but neither party trusts the other. Upon capturing Sarah, Eric drinks her blood and rids himself of the Hep V virus. Learning that Bill is dying, Eric secretly reveals the cure (contrary to the Yakuza's wishes) to Sookie and offers to heal Bill, despite their long rivalry; he is stunned when Bill refuses. However, after talking with Bill he understands his motives and tells Sookie to talk with him, making his final peace with both Bill and Sookie. Eric and Pam later kill all of the Yakuza members that want to use Newlin to make a new food source for vampires. By the end of the series, they are running a multibillion-dollar corporation called New Blood, derived from Sarah Newlin's blood, which is both a new vampire food source and a universal cure for Hep V. Eric and Pam tell the world that Sarah got away from them, but they found a drop of her blood to make New Blood with, and thereby save every infected vampire in the world. In actuality, they are keeping Sarah chained in the basement at Fangtasia, and charging vampires small fortunes to feed on her, as she slowly goes insane. All the while, Eric sits on his throne on the Fangtasia stage, relishing his accomplishments.

text: Origin[edit]

text: Eric is frequently referred to as a Viking. In episode 4 of season 3 of True Blood, Eric says he played by the North Sea as a child. In episode 10 of season 3, Pam alludes to Eric being Swedish when she says, "I have no interest in inheriting your farm on Öland. That place is a windy shit-hole". Eric also speaks Swedish with Pam and Godric in some episodes.

text: We have seen a flashback of the time before Pam's turning, which was portrayed differently in True Blood than in the books. In the television series, Pam slits her own wrists after Eric denies her request to be turned, forcing him to do it to save her life. In the books, it is said that Eric offered her immortality.


document_title: Adventures of Huckleberry Finn

question_text: where does the adventures of huckleberry finn start

text: Adventures of Huckleberry Finn

text: Characters[edit]

text: In order of appearance:

text:
Huckleberry Finn ("Huck" to his friends) is a boy about "thirteen or fourteen or along there" years old. (Chapter 17) He has been brought up by his father, the town drunk, and has a difficult time fitting into society.
Widow Douglas is the kind woman who has taken Huck in after he helped save her from a violent home invasion. She tries her best to civilize Huck, believing it is her Christian duty.
Miss Watson is the widow's sister, a tough old spinster who also lives with them. She is fairly hard on Huck, causing him to resent her a good deal. Mark Twain may have drawn inspiration for this character from several people he knew in his life.[4]
Jim is Miss Watson's physically large but mild-mannered slave. Huck becomes very close to Jim when they reunite after Jim flees Miss Watson's household to seek refuge from slavery, and Huck and Jim become fellow travelers on the Mississippi River.
Tom Sawyer is Huck's best friend and peer, the main character of other Twain novels and the leader of the town boys in adventures. He is "the best fighter and the smartest kid in town".[4]
"Pap" Finn, Huck's father, a brutal alcoholic drifter. He resents Huck getting any kind of education. His only genuine interest in his son involves begging or extorting money to feed his alcohol addiction.
Judith Loftus plays a small part in the novel — being the kind and perceptive woman whom Huck talks to in order to find out about the search for Jim — but many critics believe her to be the best drawn female character in the novel.[4]
The Grangerfords, an aristocratic Kentuckian family headed by the sexagenarian Colonel Saul Grangerford, take Huck in after he is separated from Jim on the Mississippi. Huck becomes close friends with the youngest male of the family, Buck Grangerford, who is Huck's age. By the time Huck meets them, the Grangerfords have been engaged in an age-old blood feud with another local family, the Shepherdsons.
The Duke and the King are two otherwise unnamed con artists whom Huck and Jim take aboard their raft just before the start of their Arkansas adventures. They pose as the long-lost Duke of Bridgewater and the long-dead Louis XVII of France in an attempt to over-awe Huck and Jim, who quickly come to recognize them for what they are, but cynically pretend to accept their claims to avoid conflict.
Doctor Robinson is the only man who recognizes that the King and Duke are phonies when they pretend to be British. He warns the town but they ignore him.
Mary Jane, Joanna, and Susan Wilks are the three young nieces of their wealthy guardian, Peter Wilks, who has recently died. The duke and the king try to steal the inheritance left by Peter Wilks, by posing as Peter's estranged brothers from England.
Aunt Sally and Uncle Silas Phelps buy Jim from the "Duke" and the "King". She is a loving, high-strung "farmer's wife", and he a plodding old man, both farmer and preacher. Huck poses as their nephew, after he parts from the con men.

text: Plot summary[edit]

text: In Missouri[edit]

text: The story begins in fictional St. Petersburg, Missouri (based on the actual town of Hannibal, Missouri), on the shore of the Mississippi River "forty to fifty years ago" (the novel having been published in 1884). Huckleberry "Huck" Finn (the protagonist and first-person narrator) and his friend, Thomas "Tom" Sawyer, have each come into a considerable sum of money as a result of their earlier adventures (detailed in The Adventures of Tom Sawyer). Huck explains how he is placed under the guardianship of the Widow Douglas, who, together with her stringent sister, Miss Watson, are attempting to "sivilize" him and teach him religion. Finding civilized life confining, his spirits are raised somewhat when Tom Sawyer helps him to escape one night past Miss Watson's slave Jim, to meet up with Tom's gang of self-proclaimed "robbers." Just as the gang's activities begin to bore Huck, he is suddenly interrupted by the reappearance of his shiftless father, "Pap", an abusive alcoholic. Knowing that Pap would only spend the money on alcohol, Huck is successful in preventing Pap from acquiring his fortune; however, Pap kidnaps Huck and leaves town with him.

text: In Illinois and on Jackson's Island[edit]

text: Pap forcibly moves Huck to his isolated cabin in the woods along the Illinois shoreline. Because of Pap's drunken violence and imprisonment of Huck inside the cabin, Huck, during one of his father's absences, elaborately fakes his own death, escapes from the cabin, and sets off downriver. He settles comfortably, on Jackson's Island. Here, Huck reunites with Jim, Miss Watson's slave. Jim has also run away after he overheard Miss Watson planning to sell him "down the river" to presumably more brutal owners. Jim plans to make his way to the town of Cairo in Illinois, a free state, so that he can later buy the rest of his enslaved family's freedom. At first, Huck is conflicted about the sin and crime of supporting a runaway slave, but as the two talk in depth and bond over their mutually held superstitions, Huck emotionally connects with Jim, who increasingly becomes Huck's close friend and guardian. After heavy flooding on the river, the two find a raft (which they keep) as well as an entire house floating on the river. Entering the house to seek loot, Jim finds the naked body of a dead man lying on the floor, shot in the back. He prevents Huck from viewing the corpse.

text: To find out the latest news in town, Huck dresses as a girl and enters the house of Judith Loftus, a woman new to the area. Huck learns from her about the news of his own supposed murder; Pap was initially blamed, but since Jim ran away he is also a suspect and a reward for Jim's capture has initiated a manhunt. Mrs. Loftus becomes increasingly suspicious that Huck is a boy, finally proving it by a series of tests. Once he is exposed, she nevertheless allows him to leave her home without commotion, not realizing that he is the allegedly murdered boy they have just been discussing. Huck returns to Jim to tell him the news and that a search party is coming to Jackson's Island that very night. The two hastily load up the raft and depart.

text: After a while, Huck and Jim come across a grounded steamship. Searching it, they stumble upon two thieves discussing murdering a third, but they flee before being noticed. They are later separated in a fog, making Jim intensely anxious, and when they reunite, Huck tricks Jim into thinking he dreamed the entire incident. Jim is not deceived for long, and is deeply hurt that his friend should have teased him so mercilessly. Huck becomes remorseful and apologizes to Jim, though his conscience troubles him about humbling himself to a black man.

text: In Kentucky: the Grangerfords and Shepherdsons[edit]

text: Traveling onward, Huck and Jim's raft is struck by a passing steamship, again separating the two. Huck is given shelter on the Kentucky side of the river by the Grangerfords, an "aristocratic" family. He befriends Buck Grangerford, a boy about his age, and learns that the Grangerfords are engaged in a 30-year blood feud against another family, the Shepherdsons. The Grangerfords and Shepherdsons go to the same church, which ironically preaches brotherly love. The vendetta finally comes to a head when Buck's older sister elopes with a member of the Shepherdson clan. In the resulting conflict, all the Grangerford males from this branch of the family are shot and killed, including Buck, whose horrific murder Huck witnesses. He is immensely relieved to be reunited with Jim, who has since recovered and repaired the raft.

text: In Arkansas: the duke and the king[edit]

text: Near the Arkansas-Missouri-Tennessee border, Jim and Huck take two on-the-run grifters aboard the raft. The younger man, who is about thirty, introduces himself as the long-lost son of an English duke (the Duke of Bridgewater). The older one, about seventy, then trumps this outrageous claim by alleging that he himself is the Lost Dauphin, the son of Louis XVI and rightful King of France. The "duke" and "king" soon become permanent passengers on Jim and Huck's raft, committing a series of confidence schemes upon unsuspecting locals all along their journey. To divert suspicions from the public away from Jim, they pose him as recaptured slave runaway, but later paint him up entirely blue and call him the "Sick Arab" so that he can move about the raft without bindings.

text: On one occasion, the swindlers advertise a three-night engagement of a play called "The Royal Nonesuch". The play turns out to be only a couple of minutes' worth of an absurd, bawdy sham. On the afternoon of the first performance, a drunk called Boggs is shot dead by a gentleman named Colonel Sherburn; a lynch mob forms to retaliate against Sherburn; and Sherburn, surrounded at his home, disperses the mob by making a defiant speech describing how true lynching should be done. By the third night of "The Royal Nonesuch", the townspeople prepare for their revenge on the duke and king for their money-making scam, but the two cleverly skip town together with Huck and Jim just before the performance begins.

text: In the next town, the two swindlers then impersonate brothers of Peter Wilks, a recently deceased man of property. To match accounts of Wilks's brothers, the king attempts an English accent and the duke pretends to be a deaf-mute while starting to collect Wilks's inheritance. Huck decides that Wilks's three orphaned nieces, who treat Huck with kindness, do not deserve to be cheated thus and so he tries to retrieve for them the stolen inheritance. In a desperate moment, Huck is forced to hide the money in Wilks's coffin, which is abruptly buried the next morning. The arrival of two new men who seem to be the real brothers throws everything into confusion, so that the townspeople decide to dig up the coffin in order to determine which are the true brothers, but, with everyone else distracted, Huck leaves for the raft, hoping to never see the duke and king again. Suddenly, though, the two villains return, much to Huck's despair. When Huck is finally able to get away a second time, he finds to his horror that the swindlers have sold Jim away to a family that intends to return him to his proper owner for the reward. Defying his conscience and accepting the negative religious consequences he expects for his actions—"All right, then, I'll go to hell!"—Huck resolves to free Jim once and for all.

text: On the Phelps' farm[edit]

text: Huck learns that Jim is being held at the plantation of Silas and Sally Phelps. The family's nephew, Tom, is expected for a visit at the same time as Huck's arrival, so Huck is mistaken for Tom and welcomed into their home. He plays along, hoping to find Jim's location and free him; in a surprising plot twist, it is revealed that the expected nephew is, in fact, Tom Sawyer. When Huck intercepts the real Tom Sawyer on the road and tells him everything, Tom decides to join Huck's scheme, pretending to be his own younger half-brother, Sid, while Huck continues pretending to be Tom. In the meantime, Jim has told the family about the two grifters and the new plan for "The Royal Nonesuch", and so the townspeople capture the duke and king, who are then tarred and feathered and ridden out of town on a rail.

text: Rather than simply sneaking Jim out of the shed where he is being held, Tom develops an elaborate plan to free him, involving secret messages, a hidden tunnel, snakes in a shed, a rope ladder sent in Jim's food, and other elements from adventure books he has read,[5] including an anonymous note to the Phelps warning them of the whole scheme. During the actual escape and resulting pursuit, Tom is shot in the leg, while Jim remains by his side, risking recapture rather than completing his escape alone. Although a local doctor admires Jim's decency, he has Jim arrested in his sleep and returned to the Phelps. After this, events quickly resolve themselves. Tom's Aunt Polly arrives and reveals Huck and Tom's true identities to the Phelps family. Jim is revealed to be a free man: Miss Watson died two months earlier and freed Jim in her will, but Tom (who already knew this) chose not to reveal this information to Huck so that he could come up with an artful rescue plan for Jim. Jim tells Huck that Huck's father (Pap Finn) has been dead for some time (he was the dead man they found earlier in the floating house), and so Huck may now return safely to St. Petersburg. Huck is rewarded six hundred dollars for saving the aunts from the con men. Huck gives most of it to Jim for his family. Huck declares that he is quite glad to be done writing his story, and despite Sally's plans to adopt and civilize him, he intends to flee west to Indian Territory.

text: Major themes[edit]

text: Adventures of Huckleberry Finn explores themes of race and identity. A complexity exists concerning Jim's character. While some scholars point out that Jim is good-hearted, moral, and he is not unintelligent (in contrast to several of the more negatively depicted white characters), others have criticized the novel as racist, citing the use of the word "nigger" and emphasizing the stereotypically "comic" treatment of Jim's lack of education, superstition and ignorance.[6][7]

text: Throughout the story, Huck is in moral conflict with the received values of the society in which he lives, and while he is unable to consciously refute those values even in his thoughts, he makes a moral choice based on his own valuation of Jim's friendship and Jim's human worth, a decision in direct opposition to the things he has been taught. Mark Twain, in his lecture notes, proposes that "a sound heart is a surer guide than an ill-trained conscience" and goes on to describe the novel as "...a book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat".[8][not in citation given]

text: To highlight the hypocrisy required to condone slavery within an ostensibly moral system, Twain has Huck's father enslave his son, isolate him, and beat him. When Huck escapes – which anyone would agree was the right thing to do – he then immediately encounters Jim "illegally" doing the same thing. The treatment both of them receive are radically different especially with an encounter with Mrs. Judith Loftus who takes pity on who she presumes to be a runaway apprentice, Huck, yet boasts about her husband sending the hounds after a runaway slave, Jim.[9]

text: Some scholars discuss Huck's own character, and the novel itself, in the context of its relation to African-American culture as a whole. John Alberti quotes Shelley Fisher Fishkin, who writes in her 1990s book Was Huck Black?: Mark Twain and African-American Voices, "by limiting their field of inquiry to the periphery," white scholars "have missed the ways in which African-American voices shaped Twain's creative imagination at its core." It is suggested that the character of Huckleberry Finn illustrates the correlation, and even interrelatedness, between white and black culture in the United States.[10]

text: Illustrations[edit]

text: The original illustrations were done by E.W. Kemble, at the time a young artist working for Life magazine. Kemble was hand-picked by Twain, who admired his work. Hearn suggests that Twain and Kemble had a similar skill, writing that:

text: Whatever he may have lacked in technical grace ... Kemble shared with the greatest illustrators the ability to give even the minor individual in a text his own distinct visual personality; just as Twain so deftly defined a full-rounded character in a few phrases, so too did Kemble depict with a few strokes of his pen that same entire personage.[11]

text: As Kemble could afford only one model, most of his illustrations produced for the book were done by guesswork. When the novel was published, the illustrations were praised even as the novel was harshly criticized. E.W. Kemble produced another set of illustrations for Harper's and the American Publishing Company in 1898 and 1899 after Twain lost the copyright.[12]

text: Publication's effect on literary climate[edit]

text: Twain initially conceived of the work as a sequel to The Adventures of Tom Sawyer that would follow Huckleberry Finn through adulthood. Beginning with a few pages he had removed from the earlier novel, Twain began work on a manuscript he originally titled Huckleberry Finn's Autobiography. Twain worked on the manuscript off and on for the next several years, ultimately abandoning his original plan of following Huck's development into adulthood. He appeared to have lost interest in the manuscript while it was in progress, and set it aside for several years. After making a trip down the Hudson River, Twain returned to his work on the novel. Upon completion, the novel's title closely paralleled its predecessor's: Adventures of Huckleberry Finn (Tom Sawyer's Comrade).[13]

text: Mark Twain composed the story in pen on notepaper between 1876 and 1883. Paul Needham, who supervised the authentication of the manuscript for Sotheby's books and manuscripts department in New York in 1991, stated, "What you see is [Clemens'] attempt to move away from pure literary writing to dialect writing". For example, Twain revised the opening line of Huck Finn three times. He initially wrote, "You will not know about me", which he changed to, "You do not know about me", before settling on the final version, "You don't know about me, without you have read a book by the name of 'The Adventures of Tom Sawyer'; but that ain't no matter."[14] The revisions also show how Twain reworked his material to strengthen the characters of Huck and Jim, as well as his sensitivity to the then-current debate over literacy and voting.[15][16]

text: A later version was the first typewritten manuscript delivered to a printer.[17]

text: Demand for the book spread outside of the United States. Adventures of Huckleberry Finn was eventually published on December 10, 1884, in Canada and the United Kingdom, and on February 18, 1885, in the United States.[18] The illustration on page 283 became a point of issue after an engraver, whose identity was never discovered, made a last-minute addition to the printing plate of Kemble's picture of old Silas Phelps, which drew attention to Phelps' groin. Thirty thousand copies of the book had been printed before the obscenity was discovered. A new plate was made to correct the illustration and repair the existing copies.[19][20]

text: In 1885, the Buffalo Public Library's curator, James Fraser Gluck, approached Twain to donate the manuscript to the library. Twain did so. Later it was believed that half of the pages had been misplaced by the printer. In 1991, the missing first half turned up in a steamer trunk owned by descendants of Gluck's. The library successfully claimed possession and, in 1994, opened the Mark Twain Room to showcase the treasure.[21]

text: In relation to the literary climate at the time of the book's publication in 1885, Henry Nash Smith describes the importance of Mark Twain's already established reputation as a "professional humorist", having already published over a dozen other works. Smith suggests that while the "dismantling of the decadent Romanticism of the later nineteenth century was a necessary operation," Adventures of Huckleberry Finn illustrated "previously inaccessible resources of imaginative power, but also made vernacular language, with its new sources of pleasure and new energy, available for American prose and poetry in the twentieth century."[22]

text: Reception[edit]

text: While it was clear that the publication of Adventures of Huckleberry Finn was controversial from the outset, Norman Mailer, writing in The New York Times in 1984, concluded that Twain's novel was not initially "too unpleasantly regarded." In fact, Mailer writes: "the critical climate could hardly anticipate T. S. Eliot and Ernest Hemingway's encomiums 50 years later," reviews that would remain longstanding in the American consciousness.[23]

text: Alberti suggests that the academic establishment responded to the book's challenges both dismissively and with confusion. During Twain's time, and today, defenders of Adventures of Huckleberry Finn "lump all nonacademic critics of the book together as extremists and ‘censors' thus equating the complaints about the book's ‘coarseness' from the genteel bourgeois trustees of the Concord Public Library in the 1880s with more recent objections based on race and civil rights."[10]

text: Upon issue of the American edition in 1885 several libraries banned it from their shelves.[24] The early criticism focused on what was perceived as the book's crudeness. One incident was recounted in the newspaper the Boston Transcript:

text: The Concord (Mass.) Public Library committee has decided to exclude Mark Twain's latest book from the library. One member of the committee says that, while he does not wish to call it immoral, he thinks it contains but little humor, and that of a very coarse type. He regards it as the veriest trash. The library and the other members of the committee entertain similar views, characterizing it as rough, coarse, and inelegant, dealing with a series of experiences not elevating, the whole book being more suited to the slums than to intelligent, respectable people.[25]

text: Writer Louisa May Alcott criticized the book's publication as well, saying that if Twain "[could not] think of something better to tell our pure-minded lads and lasses he had best stop writing for them".[26][27]

text: Twain later remarked to his editor, "Apparently, the Concord library has condemned Huck as 'trash and only suitable for the slums.' This will sell us another twenty-five thousand copies for sure!"

text: In 1905, New York's Brooklyn Public Library also banned the book due to "bad word choice" and Huck's having "not only itched but scratched" within the novel, which was considered obscene. When asked by a Brooklyn librarian about the situation, Twain sardonically replied:

text: I am greatly troubled by what you say. I wrote 'Tom Sawyer' & 'Huck Finn' for adults exclusively, & it always distressed me when I find that boys and girls have been allowed access to them. The mind that becomes soiled in youth can never again be washed clean. I know this by my own experience, & to this day I cherish an unappeased bitterness against the unfaithful guardians of my young life, who not only permitted but compelled me to read an unexpurgated Bible through before I was 15 years old. None can do that and ever draw a clean sweet breath again on this side of the grave.[28]

text: Many subsequent critics, Ernest Hemingway among them, have deprecated the final chapters, claiming the book "devolves into little more than minstrel-show satire and broad comedy" after Jim is detained.[29] Although Hemingway declared, "All modern American literature comes from" Huck Finn, and hailed it as "the best book we've had", he cautioned, "If you must read it you must stop where the Nigger Jim is stolen from the boys  [sic]. That is the real end. The rest is just cheating."[30][31] Pulitzer Prize winner Ron Powers states in his Twain biography (Mark Twain: A Life) that "Huckleberry Finn endures as a consensus masterpiece despite these final chapters", in which Tom Sawyer leads Huck through elaborate machinations to rescue Jim.[32]

text: Controversy[edit]

text: In his introduction to The Annotated Huckleberry Finn, Michael Patrick Hearn writes that Twain "could be uninhibitedly vulgar", and quotes critic William Dean Howells, a Twain contemporary, who wrote that the author's "humor was not for most women". However, Hearn continues by explaining that "the reticent Howells found nothing in the proofs of Huckleberry Finn so offensive that it needed to be struck out".[33]

text: Much of modern scholarship of Huckleberry Finn has focused on its treatment of race. Many Twain scholars have argued that the book, by humanizing Jim and exposing the fallacies of the racist assumptions of slavery, is an attack on racism.[34] Others have argued that the book falls short on this score, especially in its depiction of Jim.[24] According to Professor Stephen Railton of the University of Virginia, Twain was unable to fully rise above the stereotypes of black people that white readers of his era expected and enjoyed, and, therefore, resorted to minstrel show-style comedy to provide humor at Jim's expense, and ended up confirming rather than challenging late-19th century racist stereotypes.[35]

text: In one instance, the controversy caused a drastically altered interpretation of the text: in 1955, CBS tried to avoid controversial material in a televised version of the book, by deleting all mention of slavery and omitting the character of Jim entirely.[36]

text: Because of this controversy over whether Huckleberry Finn is racist or anti-racist, and because the word "nigger" is frequently used in the novel (a commonly used word in Twain's time which has since become vulgar and taboo), many have questioned the appropriateness of teaching the book in the U.S. public school system—this questioning of the word "nigger" is illustrated by a school administrator of Virginia in 1982 calling the novel the "most grotesque example of racism I've ever seen in my life".[37] According to the American Library Association, Huckleberry Finn was the fifth most frequently challenged book in the United States during the 1990s.[38]

text: There have been several more recent cases involving protests for the banning of the novel. In 2003, high school student Calista Phair and her grandmother, Beatrice Clark, in Renton, Washington, proposed banning the book from classroom learning in the Renton School District, though not from any public libraries, because of the word "nigger". Clark filed a request with the school district in response to the required reading of the book, asking for the novel to be removed from the English curriculum. The two curriculum committees that considered her request eventually decided to keep the novel on the 11th grade curriculum, though they suspended it until a panel had time to review the novel and set a specific teaching procedure for the novel's controversial topics.[39]

text: In 2009, a Washington state high school teacher called for the removal of the novel from a school curriculum. The teacher, John Foley, called for replacing Adventures of Huckleberry Finn with a more modern novel.[40] In an opinion column that Foley wrote in the Seattle Post Intelligencer, he states that all "novels that use the ‘N-word' repeatedly need to go." He states that teaching the novel is not only unnecessary, but difficult due to the offensive language within the novel with many students becoming uncomfortable at "just hear[ing] the N-word." He views this change as "common sense," with Obama's election into office as a sign that Americans "are ready for a change," and that by removing these books from the reading lists, they would be following this change.[41]

text: Publishers of the book have made their own attempts at easing the controversy by way of less-coarse publications. A 2011 edition of the book, published by NewSouth Books, replaced the word "nigger" with "slave" (although being incorrectly addressed to a freed man) and did not use the term "Injun." Mark Twain scholar Alan Gribben said he hoped the edition would be more friendly for use in classrooms, rather than have the work banned outright from classroom reading lists due to its language.[42]

text: According to publisher Suzanne La Rosa "At NewSouth, we saw the value in an edition that would help the works find new readers. If the publication sparks good debate about how language impacts learning or about the nature of censorship or the way in which racial slurs exercise their baneful influence, then our mission in publishing this new edition of Twain's works will be more emphatically fulfilled."[43] Another scholar, Thomas Wortham, criticized the changes, saying the new edition "doesn't challenge children to ask, 'Why would a child like Huck use such reprehensible language?'"[44]

text: In 2016, Adventures of Huckleberry Finn was removed from a public school district in Virginia, along with the novel To Kill a Mockingbird, due to their use of racial slurs.[45][46]

text: Responses to this include the publishing of The Hipster Huckleberry Finn which is an edition with the word "nigger" replaced with the word "hipster". The book's description includes this statement "Thanks to editor Richard Grayson, the adventures of Huckleberry Finn are now neither offensive nor uncool."[47]

text: Adaptations[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2017) (Learn how and when to remove this template message)

text: Film[edit]

text:
Huck and Tom (1918 silent) by Famous Players-Lasky; directed by William Desmond Taylor; starring Jack Pickford as Tom, Robert Gordon as Huck and Clara Horton as Becky
Huckleberry Finn (1920 silent) by Famous Players-Lasky; directed by William Desmond Taylor; starring Lewis Sargent as Huck, Gordon Griffith as Tom and Thelma Salter as Becky[48][49]
Huckleberry Finn (1931) by Paramount Pictures; directed by Norman Taurog; starring Jackie Coogan as Tom, Junior Durkin as Huck, and Mitzi Green as Becky[50][49]
The Adventures of Huckleberry Finn (1939) by MGM; directed by Richard Thorpe; starring Mickey Rooney as Huck
The Adventures of Huckleberry Finn (1955), starring Thomas Mitchell and John Carradine
The Adventures of Huckleberry Finn (1960), directed by Michael Curtiz, starring Eddie Hodges and Archie Moore
Hopelessly Lost (1972), a Soviet film
Huckleberry Finn (1974), a musical film
Huckleberry Finn (1975), an ABC movie of the week with Ron Howard as Huck Finn
The Adventures of Con Sawyer and Hucklemary Finn (1985), an ABC movie of the week with Drew Barrymore as Con Sawyer
The Adventures of Huck Finn (1993), starring Elijah Wood and Courtney B. Vance
Tom and Huck (1995), starring Jonathan Taylor Thomas as Tom and Brad Renfro as Huck
Tomato Sawyer and Huckleberry Larry's Big River Rescue (2008), a VeggieTales parody
Die Abenteuer des Huck Finn (2012), a German film starring Leon Seidel and directed by Hermine Huntgeburth
Tom Sawyer & Huckleberry Finn (2014), starring Joel Courtney as Tom Sawyer, Jake T. Austin as Huckleberry Finn, Katherine McNamara as Becky Thatcher
Band of Robbers (2015), an American crime comedy written and directed by the Nee Brothers

text: Television[edit]

text:
Huckleberry no Bōken, a 1976 Japanese anime with 26 episodes
Huckleberry Finn and His Friends, a 1979 series starring Ian Tracey
Huckleberry Finn Monogatari (ハックルベリー・フィン物語), a 1994 Japanese anime with 26 episodes, produced by NHK

text: Other[edit]

text:
The Adventures of Huckleberry Finn (1973), by Robert James Dixson – a simplified version
Big River: The Adventures of Huckleberry Finn, a 1985 Broadway musical with lyrics and music by Roger Miller

text: Related works[edit]

text: Literature[edit]

text:
Finn: A Novel (2007), by Jon Clinch – a novel about Huck's father, Pap Finn
Huck Out West (2017), by Robert Coover – continues Huck's and Tom's adventures during the 1860s and 1870s
The Further Adventures of Huckleberry Finn (1983) by Greg Matthews – continues Huck's and Jim's adventures as they "light out for the territory" and wind up in the throes of the California Gold Rush of 1849[51][52][53][54]
My Jim (2005), by Nancy Rawles – a novel narrated largely by Sadie, Jim's enslaved wife

text: Music[edit]

text:
Mississippi Suite (1926), by Ferde Grofe: the second movement is a lighthearted whimsical piece entitled "Huckleberry Finn"
Huckleberry Finn EP (2009), comprising five songs from Kurt Weill's unfinished musical, by Duke Special

text: Television[edit]

text: The New Adventures of Huckleberry Finn, a 1968 children's series produced by Hanna-Barbera combining live-action and animation