"America's irrepressible doyenne of domestic satire." THE BOSTON GLOBE Madcap, bittersweet humor in classic Erma Bombeck-style. You'll laugh until it hurts and love it! "Any mother with half a skull knows that when Daddy's little boy becomes Mommy's little boy, the kid is so wet, he's treading water. What do you mean you're a participle in the school play and you need a costume? Those rotten kids. If only they'd let me wake up in my own way. Why do they have to line up along my bed and stare at me like Moby Dick just washed up onto a beach somewhere?"
Entertaining, illuminating, and entirely unique, Wit’s End “convey[s] the power of wit to refresh the mind” (Henry Hitchings, Wall Street Journal). In “this inventive and playful book” (Tom Beer, Newsday), James Geary explores every facet of wittiness, from its role in innovation to why puns are the highest form of wit. Adopting a different style for each chapter—from dramatic dialogue to sermon, heroic couplets to a barroom monologue—Geary embodies wit in all its forms. Wit’s End agilely balances psychology, folktale, visual art, and literary history with lighthearted humor and acute insight, demonstrating that wit and wisdom are really the same thing.
CHOICE: OUTSTANDING ACADEMIC TITLE A scholarly and thought-provoking work that places Jewish humor at the center of a discourse about Jewish and German relations through most of the twentieth century. At Wit’s End explores the fascinating discourse on Jewish wit in the twentieth century when the Jewish joke became the subject of serious humanistic inquiry and inserted itself into the cultural and political debates among Germans and Jews against the ideologically charged backdrop of anti-Semitism, the Jewish question, and the Holocaust. The first in-depth study to explore the Jewish joke as a crucial rhetorical figure in larger cultural debates in Germany, author Louis Kaplan presents an engrossing and lucid work of scholarship that examines how “der jüdische Witz” (referring to both Jewish wit and jokes) was utilized differently in a number of texts, from the Weimar Republic to the rise of National Socialism, and how it was re-introduced into the public sphere after the Holocaust with the controversial publication of Salcia Landmann’s collection of Jewish jokes in the reparations era (Wiedergutmachung). Kaplan reviews the claims made about the Jewish joke and its provocative laughter by notable writers from a variety of ideological perspectives, demonstrating how their reflections on this complex cultural trope enable a better understanding of German–Jewish intercultural relations and their eventual breakdown in the Third Reich. He also illustrates how selfcritical and self-ironic Jewish Witz maintained a fraught and ambivalent relationship with anti-Semitism. In reviewing this critical and traumatic moment in modern German–Jewish history through the deadly discourse on the Jewish joke, At Wit’s End includes chapters on the virulent Austrian anti-Semitic racial theorist Arthur Trebitsch, the Nazi racial propagandist Siegfried Kadner, the German Marxist cultural historian Eduard Fuchs, the Jewish diasporic historian Erich Kahler, and the Jewish cabaret impresario Kurt Robitschek, among others. Shedding new light on anti-Semitism and on the Jewish question leading up to the Holocaust, At Wit’s End provides readers with a unique perspective by which to gain important insights about this crucial historical period that reverberates into the present day, when potentially offensive humor coupled with a toxic political climate and xenophobia can have deadly consequences.
We are becoming less intelligent. This is the shocking yet fascinating message of At Our Wits' End. The authors take us on a journey through the growing body of evidence that we are significantly less intelligent now than we were a hundred years ago. The research proving this is, at once, profoundly thought-provoking, highly controversial, and it's currently only read by academics. But the authors are passionate that it cannot remain ensconced in the ivory tower any longer. With At Our Wits' End, they present the first ever popular scientific book on this crucially important issue. They prove that intelligence — which is strongly genetic — was increasing up until the breakthrough of the Industrial Revolution, because we were subject to the rigors of Darwinian Selection, meaning that lots of surviving children was the preserve of the cleverest. But since then, they show, intelligence has gone into rapid decline, because large families are increasingly the preserve of the least intelligent. The book explores how this change has occurred and, crucially, what its consequences will be for the future. Can we find a way of reversing the decline of our IQ? Or will we witness the collapse of civilization and the rise of a new Dark Age?
Sue Scheff turned to a therapeutic boarding school for solutions to her out-of-control teenage daughters behavior problems. Wits End is the story of how her attempt at saving her troubled teen turned into a nightmare and includes the program that she now implements to consult other parents who are at wits end through her national organization Parents Universal Resource Experts (PURE).
"Why does A. J. Liebling remain a vibrant role model for writers while the superb, prolific St. Clair McKelway has been sorely forgotten?" James Wolcott asked this question in a recent review of the Complete New Yorker on DVD. Anyone who has read a single paragraph of McKelway's work would struggle to provide an answer. His articles for the New Yorker were defined by their clean language and incomporable wit, by his love of New York's rough edges and his affection for the working man (whether that work was come by honestly or not). Like Joseph Mitchell and A. J. Liebling, McKelway combined the unflagging curiosity of a great reporter with the narrative flair of a master storyteller. William Shawn, the magazine's long-time editor, described him as a writer with the "lightest of light touches." His style is so striking, Shawn went on to say, that "it was too odd to be imitated." The pieces collected here are drawn from two of McKelway's books--True Tales from the Annals of Crime and Rascality (1951) and The Big Little Man from Brooklyn (1969). His subjects are the small players who in their particulars defined life in New York during the 36 years McKelway wrote: the junkmen, boxing cornermen, counterfeiters, con artists, fire marshals, priests, and beat cops and detectives. The "rascals." An amazing portrait of a long forgotten New York by the reporter who helped establish and utterly defined New Yorker "fact writing," Untitled Collection is long overdue celebration of a truly gifted writer.
Based on lectures that Brakhage gave at the school of the Art Institute of Chicago, this volume portrays eight artists who have electrified American independent cinema across four decades. With characteristic directness, anecdotal style, and wry humor, Brakhage, himself an influential American independent filmmaker, brings into sharp focus the life and work of Jerome Hill, Marie Menken, James Brouhgton, Maya Deren, Ken Jacobs, Sidney Peterson, Bruce Conner, and Christopher MacLaine. He also portrays the art scenes of New York and San Francisco during times of ferment and controversy. ISBN 0-914232-99-1: $20.00.
A laugh-out-loud mystery that’s out of this world… Men in Black. Conspiracy-crazed old ladies. Can a clueless innkeeper catch a killer … and stick to her carefully crafted schedule? When control-freak Susan Witsend inherits her grandmother’s UFO-themed B&B, she’s ready to put her organizational skills to the test. She knows she can make the B&B work, even if there is a faux-UFO in the roof. After all, what’s not to love about a Victorian nestled in the high Sierra foothills? But none of her carefully crafted policies and procedures can prepare her for a corpse in room seven – the body of her small-town sheriff’s ex-husband. Good thing Susan has her own plans to solve the crime. Is there a government conspiracy afoot? Or is the murder a simple case of small-town vengeance? Susan must keep all her wits about her. Because the killer isn’t finished, and if she isn’t careful, her fate may be written in the stars… At Wits' End is book one in the Wits' End mystery series. Get cozy and beam up this hilarious mystery today!
Jack Semple and E.D. Applewhite are back, in this middle-grade sequel to Stephanie S. Tolan’s Newbery Honor Book Surviving the Applewhites. Teenager E.D., the not so artistic, not at all eccentric member of the unconventional Applewhite clan, can't believe the plan her father has hatched to save the family from financial disaster. He’s decided to transform their rural North Carolina farm into a summer camp for creative children. Soon the farm is packed with temperamental artists, out-of-control campers, and an even more out-of-control goat. It's all a little too much for structure-loving E.D., even before threatening notes begin appearing in the family mailbox. Together with Jake Semple--the boy who survived his first year in the Applewhites' home school—she's determined to save the camp and the family from disaster. Like Carl Hiassan’s Chomp, Applewhites at Wit's End combines outrageous humor and the frustrations and joys of being part of a family.
