Nearly a decade of basking in the words of Mark Twain
and James Joyce has yielded a most unexpected cache.
Mark Twain and James Joyce were but two authors
writing in a code that once unraveled names the
Dictionary as the source to comprehending their
narratives.  What I am about to opine is admittedly
just as absurd as "Finnegans Wake" and as implausible
as "No. 44, The Mysterious Stranger."  I need not be
reminded of the inherent foolishness or the fact I am
a credentialed nobody.  The list of reasons for
inaccuracy is endless, but the haunting question
should be, “What if?
No one can stake claim for affection toward Mark Twain
or James Joyce more than I.  Nothing would pain me
more than defaming their name or falsely trumpeting
authenticity in their behalf.  With this apologetic
behind me, the time has come to announce what many
have always recognized but few seldom realize.
Twain penetrated the secret code of language and
penned it in everything he said and wrote,
remonstrated in his own handwriting at the front of
"Life on the Mississippi": “This is the authorized
Uniform Edition of all my books.  Mark Twain.”  The
word “uniform” is the “communications codes word for
the letter u,” as is “union.” The word “union” is “of
a literary language: artificially created by a
selection of vocabulary and usages from related
dialects or languages with the intent of serving all
equally.”
   Additionally in his own handwriting, the title page
of "Mysterious Stranger" reads, “Being an Ancient Tale
found in a Jug, & freely translated from the Jug by
Mark Twain.”  Jug is a nickname for Joan.  Joan of Arc
was born in Domremy where Twain’s "Joan of Arc"
reports, “From time immemorial all children reared
[there] were called the Children of the Tree.”
Language IS the Tree of Life tasted and digested by
the likes of Twain and Joyce. They excavated the link
between words and quarried the potpourri of
definitions. They nurtured the fertility of meaning
rather than narrow it to specificity.  These two
feasted on the forbidden fruit of knowledge and were
gifted the hope heretofore privy only to gods.
Language proved itself as narrative lore whose plot
centers in discovering who and what is in the
proverbial box, i.e., Pandora’s Box.  Twain and Joyce
picked the lock, emancipating the stagnant paradigm of
polar discursion and timeworn semantics. “How
charmingly exquisite!” exults "Finnegans Wake," I am
sure that tiring chabeshoveller with mujikal chocolat
box, Miry Mitchel, is listening” (FW. p.13).
The plodding begins with the words “box huckleberry,
tree huckleberry.” As there is a “huckleberry oak” so
too is there a quintessential “pine sawyer” and
“sawyer” is inclusive of a “tree fast in the bed of a
stream with its branches projecting to the surface and
bobbing up and down with the current.” Huck is “hip”
as “hope” is “hip” or a “small bay, inlet.” "Finnegans
Wake" begins “riverrun, past Eve and Adam’s, from
swerve of shore to bend of bay.”
Bay is the “berry of the laurel, recess for display of
specimen or accent plants, main division of any
structure, inlet” and to “cry out, shout, renown,
honor, fame.”  River is an “inlet, outpouring” while
“run” is “consort, ascend a river to spawn, fuse,
hunt, lead, smuggle, expose oneself, sequence,
stereotyped passage or narrative or description
introduced into Gaelic popular tales, test or proof of
a process.”
        “The code’s proof!” affirms the "Wake,"
“Listeneth! ‘Tis a tree story.” (p. 364 & 564).  The
definition of “code” begins, “trunk of a tree, split
[‘twain’] block of wood.” The word “code” actually
includes “often: a formal statement of such a set of
rules or standards <International Code of Botanical
Nomenclature>,” itself addressed in “tautonym” which
is “forbidden” by the “ICBC.”
Manifested in the definition of “avatar” is “Mark
Twain” and “Huckleberry Finn.”  Avatar is "a variant
phase or version of a continuing basic entity
somertimes implying no more than a change of name."
Twain craftily appropriated Finn from the ancient
Irish myth of Finn MacCool, a young orphan raised in
the woods by two widows.  Tom names Huck “the
Red-Handed” just as Finn MacCool’s father was called
“Red-Hand.”
  Joyce playfully stole everything he wrote from
master Mark, admitting throughout the "Wake" his
connection to Twain while revealing the “secret
cause;” cause meaning “antecedent.” Furthermore,
deciphering "Finnegans Wake" reveals, “mark my words
and append to my mark twang” (FW. 425, read all Book
III, chapter I, specif. p. 410).
All their narratives were but the veil fronting of a
Magic Eye poster, leaving its radiance and rhapsody to
lie beyond and behind each word.  Therefore it is
language itself that will ultimately verify what I can
presently only hint at and point toward.
The forgoing announcement is but a faint starting line
to a linguistic ultra-marathon. In the interim, I now
lite the optic fuse, allowing time for us all to
arrive at and witness the grand extraction. “There
comes a time in every rightly constructed boy’s life
when he has a raging desire to go somewhere and dig
for hidden treasure. . . .  Presently [Tom Sawyer]
stumbled upon Huck Finn the Red-Handed.  Huck would
answer.  Tom took him to a private place and opened
the matter to him confidentially” (TS. 175).
  Mark Twain has secreted an array of illuminating
notes, journals, and auguries buried underground in an
identifiable location at Quarry Farm! “The keys to.
Given!” proclaimed at the end of the Wake will be
handed out upon exhumation of this quarry.
 Moreover, the entertainment industry is the
blockbuster carrying the star-gazed banner screening
all candor. As Twain barbed, “The dream-marks are all
present—you should have recognized them earlier . . .”
(MS. p. 187).
As for this fool, I await while raging for my own
dream to participate with all the other boys in the
gang!  "Me-yow! Me-yow!"
PS: The first shovel full of nonsense is scooped as
Webster’s "International Third New Dictionary" gives
answer to Joyce’s “who is who is.”  Perched atop the
word and definition -- “whos: who” -- sits
“huckleberry.”  "Finnegans Wake" begins with “mishe
mishe,” Gaelic for “I am,” as "Adventures of
Huckleberry Finn" takes up “Me-yow! Me-yow!” that
translates to “me-you!”
Won Key Given.