Louis D. Rubio, Jr., in The History of Southern Literature (1985), points out that, to many Southern critics, Mark Twain holds a curious place because he does not seem to conform to what is generally considered the model of Southern literature: he does not seem to have a Southerner`s compulsion to tell about the South and to explain the South to others. Despite his desire to appear more than a Southern writer, however, Twam`s works display, implicitly or explicitly, that he is caught up in the mixture of fascinations and myths that bemused and tormented every Southern writer. Furthermore, his writings show his indebtedness to Old Southwestern humorists. Like Southwestern humorists, Twain wrote comic stories deeply rooted in the folklore and tall-tales of the region. His stones, A Connecticut Yankee in King Arthur`s Court in particular, share the strain of exaggerated and excessive cruelty and violence commonly found in the Southwestern yarns. Despite this similarity, examined within the context of the whole story, the comic elements in A Connecticut Yankee evoke horror rather than laughter. They reveal the metaphysical terror Twain finds in both the antebellum South and post-Civil War America. In other words, unlike Old Southwestern humorists, Twain did not always transform violence and horror to humorous narratives. In other words, A Connecticut Yankee, like many of his later fictions, transcends the generic confinements of Old Southwestern humor and, at the same time, reveals that Twain is indeed an errant son of the South who inherited and transformed Southern literary traditions, both in thematic and formal aspects.