The Last American A Fragment from the Journal of Khan-li, Prince of Dimph-yoo-chur and Admiral in the Persian Navy — Edition Insights

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Mitchell, John Ames, 1845-1918 Project Gutenberg 2005 Not confirmed
Science fiction Readers of public-domain and historical texts
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Edition facts

Words 13,147
Reading time 58 min
Text sections 2

The source record for The Last American A Fragment from the Journal of Khan-li, Prince of Dimph-yoo-chur and Admiral in the Persian Navy — Edition Insights measures this digital text at 13,147 words, 58 min estimated reading time, and 2 detected text sections.

The text analysis averages about 17.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

A Persian admiral's 2951 journal records the discovery of a deserted North America, using a satirical frame to critique 19th-century American society through invented archaeological commentary and dialogue.
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Editorial Edition Score 4.5/5

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Read the Text

This was encouraging, and we looked about eagerly for other signs.

Our steps soon brought us into another street, and as we walked I expressed my surprise at the wonderful preservation of the stone work, which looked as though cut but yesterday.

"In such an atmosphere decay is slow," said Nofuhl. "A thousand years at least have passed since these houses were occupied. Take yonder oak, for instance; the tree itself has been growing for at least a hundred years, and we know from the fallen mass beneath it that centuries had gone by before its birth was possible."

He stopped speaking, his eyes fixed upon an inscription over a doorway, partly hidden by one of the branches of the oak.

Turning suddenly upon me with a look of triumph, he exclaimed:

"What is ours?" I asked.

"The knowledge we sought;" and he pointed to the inscription,

NEW YORK STOCK EXC....

He was tremulous with joy. "Thou hast heard of Nhu-Yok, O my Prince?"

I answered that I had read of it at school.

"Thou art in it now!" he said. "We are standing on the Western Continent. Little wonder we thought our voyage long!"

"And what was Nhu-Yok?" I asked. "I read of it at college, but remember little. Was it not the capital of the ancient Mehrikans?"

"Not the capital," he answered, "but their largest city. Its population was four millions."

"Four millions!" I exclaimed. "Verily, O Fountain of Wisdom, that is many for one city!"

"Such is history, my Prince! Moreover, as thou knowest, it would take us many days to walk this town."

"True, it is endless."

"Strange that a single word can tell so much! Those iron structures, the huge statue in the harbor, the temples with pointed towers, all are as writ in history."

Whereupon I repeated that I knew little of the Mehrikans save what I had learned at college, a perfunctory and fleeting knowledge, as they were a people who interested me but little.

"Let us seat ourselves in the shade," said Nofuhl, "and I will tell thee of them."

"For eleven centuries the cities of this sleeping hemisphere have decayed in solitude. Their very existence has been forgotten. The people who built them have long since passed away, and their civilization is but a shadowy tradition. Historians are astounded that a nation of an hundred million beings should vanish from the earth like a mist, and leave so little behind. But to those familiar with their lives and character surprise is impossible. There was nothing to leave. The Mehrikans possessed neither literature, art, nor music of their own. Everything was borrowed. The very clothes they wore were copied with ludicrous precision from the models of other nations. They were a sharp, restless, quick-witted, greedy race, given body and soul to the gathering of riches. Their chiefest passion was to buy and sell. Even women, both of high and low degree, spent much of their time at bargains, crowding and jostling each other in vast marts of trade, for their attire was complicated, and demanded most of their time."

"How degrading!" I exclaimed.

"So it must have been," said Nofuhl; "but they were not without virtues. Their domestic life was happy. A man had but one wife, and treated her as his equal."

"That is curious! But as I remember, they were a people of elastic honor."

"They were so considered," said Nofuhl; "their commercial honor was a jest. They were sharper than the Turks. Prosperity was their god, with cunning and invention for his prophets. Their restless activity no Persian can comprehend. This vast country was alive with noisy industries, the nervous Mehrikans darting with inconceivable rapidity from one city to another by a system of locomotion we can only guess at. There existed roads with iron rods upon them, over which small houses on wheels were drawn with such velocity that a long day's journey was accomplished in an hour. Enormous ships without sails, driven by a mysterious force, bore hundreds of people at a time to the farthermost points of the earth."

"And are these things lost?" I asked.

"We know many of the forces," said Nofuhl, "but the knowledge, of applying them is gone. The very elements seem to have been their slaves. Cities were illuminated at night by artificial moons, whose radiance eclipsed the moon above. Strange devices were in use by which they conversed together when separated by a journey of many days. Some of these appliances exist to-day in Persian museums. The superstitions of our ancestors allowed their secrets to be lost during those dark centuries from which at last we are waking."

The frame narrative of The Last American is itself a satirical device: the book presents as a scholarly edition of a journal kept by Khan-li, a Persian prince and admiral who lands on a depopulated North America in the year 2951. The excerpts open with a preface by a fictional curator, Hedful, who praises Khan-li's discoveries and recommends other invented works like Noz-yt-ahl's History of the Mehrikans. This layered fiction allows Mitchell to critique American culture from an outsider's perspective, using the pretense of archaeological distance.

The catalog subjects list only "Science fiction," but the text is equally a social satire. The excerpts show no advanced technology or speculative science; instead, they focus on moral commentary about wealth, class, and media consumption, delivered through dialogues between Khan-li and the scholar Nofuhl.

A Persian Lens on American Decline

The narrative voice is consistently Persian, with Khan-li writing in a formal, archaic English that mimics translated Orientalist texts. Phrases like "O Land of Delight!" and "Verily, that would be natural!" establish a tone of naive wonder. This voice is used to defamiliarize American customs. For example, when Nofuhl explains that vast fortunes "dominated all things, even the seat of government and the courts of Justice," Khan-li's response is a simple exclamation, highlighting the absurdity through understatement.

The excerpts also include a dedication "To those thoughtful Persians who can read a warning in the sudden rise and swift extinction of a foolish people." This directly frames the work as a cautionary tale, not a prediction of future technology. The fictional historians cited—Nofuhl, Noz-yt-ahl—are given invented book titles that parody academic writing, such as The Celestial Conquest of Kaly-phorn-ya. This mock-scholarly apparatus is a key structural feature, not a plot element.

Wealth, Class, and the Critique of Greed

The excerpts contain extended passages on Mehrikan (American) society, delivered as dialogue. Nofuhl describes a class system where "those families who possessed riches for a generation or two became the substitute for an aristocracy." This upper class is characterized by "feeble" intellectual development and a love of display. The critique extends to economic behavior: "huge fortunes were amassed in a day, and the Mehrikans became drunk with money." The text explicitly links wealth to moral decay, with Nofuhl stating that "sober industry with its moderate profits was ridiculed."

Khan-li's questions drive the exposition: "But in a land where all were rich who was found to cook and scrub?" This leads to the acknowledgment that not all were rich, and that greed among the poor caused "social upheavals with bloodshed and havoc." The excerpts do not specify events, but the pattern of criticism is clear: the society collapsed from internal corruption, not external invasion or natural disaster alone.

The Role of Media and the Absence of Literature

A notable exchange concerns Mehrikan reading habits. Nofuhl claims they were "great readers" but had no literature. When Khan-li points out the contradiction, Nofuhl explains that "vast sheets of paper were published daily in which all crimes were recorded in detail." These "chronicles of crime and filth" were consumed by nearly every family. The passage satirizes sensationalist journalism, presenting it as a substitute for genuine literary culture.

The excerpts also include brief diary entries about weather and illness, such as "an icy wind from the northeast with a violent rain" and a fever that leaves Khan-li "both hot and cold." These details ground the fantastical frame in physical discomfort. The crew's reaction to the cold—Lev-el-Hedyd calls it "the shrieking voices of the hundred millions of Mehrikans who must have perished in similar weather"—connects the environmental harshness to the vanished population, though the cause of extinction is not fully explained in the provided text.

The excerpts offer a satirical portrait of American society through a Persian traveler's eyes, focusing on wealth inequality, class structure, and media consumption. Readers should note that the frame narrative—a discovered journal with scholarly apparatus—is central to the book's effect. The text does not provide a complete plot or resolution; the fragments end with the crew debating whether to visit Washington. The satire is directed at 19th-century American mores, not at future technology, despite the science fiction cataloging.

I remember how The Last American made me smile at its strange, melancholy mirror—a whole continent seen through borrowed eyes. That same quiet ache of displacement lives in The Runaway Skyscraper — Themes and Context, where a building drifts loose from its moorings. Both feel like conversations overheard across a century—tender, puzzled, a little lost. I often think of them together, shelved side by side in my memory.

Ella White
2 weeks ago

Evelyn Hernandez
1 month ago

Oliver Wilson
3 weeks ago

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