At the risk of saying the obvious, switched identities were an on-going preoccupation for Twain. Yes, there's a great deal of it in PUDD'NHEAD WILSON, but: --Both A CONNECTICUT YANKEE IN KING ARTHUR'S COURT and THE PRINCE AND THE PAUPER are so involved in identity games that their very titles reflect it. I'm thinking not only of Hank Morgan's basic jump in time, but also of the long episode in which the Boss and the King travel as common men, then are turned into slaves. --Or take HUCKLEBERRY FINN. Huck plays a girl. He is "George Jaxon" at the Grangerfords. He is the English valet of the purported Wilkes brothers. He claims to be Charles William Albright in the "raftsman passage." He is Tom Sawyer in the long final section. And in brief passages he invents several other identities for himself (for instance, when he talks the ferry pilot into looking for the "remainders" of his relatives on the Walter Scott). Meanwhile, Tom passes the last chapters as "Sid Sawyer," the Duke and King take on all sorts of identities, and even Jim gets disguised as "old King Lear and a dead A-rab." I have trouble believing there are more identity shifts and perception games in PUDDN'HEAD than in HUCKLEBERRY FINN. Mark Coburn