Winner of the Pulitzer Prize “A masterwork . . . the novel astonishes with its inventiveness . . . it is nothing less than a grand comic fugue.”—The New York Times Book Review A Confederacy of Dunces is an American comic masterpiece. John Kennedy Toole's hero, one Ignatius J. Reilly, is "huge, obese, fractious, fastidious, a latter-day Gargantua, a Don Quixote of the French Quarter. His story bursts with wholly original characters, denizens of New Orleans' lower depths, incredibly true-to-life dialogue, and the zaniest series of high and low comic adventures" (Henry Kisor, Chicago Sun-Times).
A collection of humorous essays, articles, short stories, excerpts, and miscellaneous writings. Includes contributions by Conan O'Brien, Douglas Coupland, and Wendy Wasserstein.
This collection of anecdotes, tales, jokes, toasts, rhymes, satire, riffs, poems, stand-up sketches, and snaps documents the evolution of African American humor over the past two centuries. It includes routines and writings from such luminaries as Bert Williams, Butterbeans & Susie, Stepin Fetchit, Moms Mabley, Ralph Ellison, Langston Hughes, Redd Foxx, Ishmael Reed, Bill Cosby, Richard Pryor, Martin Lawrence, and Chris Rock. This anthology includes classic stage routines, literary examples, and witty quotations presented in their entirety.
Critical studies attempting to define and dissect American humor have been published steadily for nearly one hundred years. However, until now, key documents from that history have never been brought together in a single volume for students and scholars. What's So Funny? Humor in American Culture, a collection of 15 essays, examines the meaning of humor and attempts to pinpoint its impact on American culture and society, while providing a historical overview of its progres-sion. Essays from Nancy Walker and Zita Dresner, Joseph Boskin and Joseph Dorinson, William Keough, Roy Blount, Jr., and others trace the development of American humor from the colonial period to the present, focusing on its relationship with ethnicity, gender, violence, and geography. An excellent reader for courses in American studies and American social and cultural history, What's So Funny? explores the traits of the American experience that have given rise to its humor.
What do Jon Stewart, Freddy Krueger, Patch Adams, and George W. Bush have in common? As Paul Lewis shows in Cracking Up, they are all among the ranks of joke tellers who aim to do much more than simply amuse. Exploring topics that range from the sadistic mockery of Abu Ghraib prison guards to New Age platitudes about the healing power of laughter, from jokes used to ridicule the possibility of global climate change to the heartwarming performances of hospital clowns, Lewis demonstrates that over the past thirty years American humor has become increasingly purposeful and embattled. Navigating this contentious world of controversial, manipulative, and disturbing laughter, Cracking Up argues that the good news about American humor in our time—that it is delightful, relaxing, and distracting—is also the bad news. In a culture that both enjoys and quarrels about jokes, humor expresses our most nurturing and hurtful impulses, informs and misinforms us, and exposes as well as covers up the shortcomings of our leaders. Wondering what’s so funny about a culture determined to laugh at problems it prefers not to face, Lewis reveals connections between such seemingly unrelated jokers as Norman Cousins, Hannibal Lecter, Rush Limbaugh, Garry Trudeau, Jay Leno, Ronald Reagan, Beavis and Butt-Head, and Bill Clinton. The result is a surprising, alarming, and at times hilarious argument that will appeal to anyone interested in the ways humor is changing our cultural and political landscapes.
Excerpt from The Best American Humorous Short Stories The Nice People, by Henry Cuyler Bunner, is republished from his volume, Short Sixes, by permission Of its publish ers, Charles Scribner's Sons. The buller-podington Com pact, by Frank Richard Stockton, is from his volume, A field and Afloat, and is republished by permission Of Gnarles Scribner's Sons. Colonel Starbottle for the Plaintifi, by Bret Harte, is from the collection of his stories entitled Openings in the Old Trail, and is republished by permission of the Houghton Mifflin Company, the authorized publishers of Bret Harte's complete works. The Duplicity of Hargraves, by 0. Henry, is from his volume, Sixes and Sevens, and is republished by permission Of its publishers, Doubleday, Page co. These stories are fully protected by copyrignt, and should not be republished except by permission of the pub lishers mentioned. Thanks are due Mrs. Grace macgowan Cooke for permission to use her story, A Call, republished here from Harper's Magazine; Wells Hastings, for permission to reprint his story, Gideon, from The Century Magazine; and George Randolph Chester, for permission to include Bargain Day at Tutt House, from M cclure's Magazine. I would also thank the heirs Of the late lamented Colonel William J. Lanpton for permission to use his story, How the Widow Won the Deacon, from Harper's Bazaar. These stories are all copyrighted, and cannot be republished except by authorization Of their authors or heirs. The editor regrets that their publishers have seen fit to refuse him per mission to include George W. Cable's story, Posson and Irvin S. Cobb's story, The Smart Aleck. He also regrets he was unable to Obtain a copy of Joseph C. Duport's story, The Wedding at Timber Hollow, in time for inclusion, to which its merits - as he remembers them - certainly entitle it. Mr. Duport, in addition to his literary activities, has started an interesting back to Nature experiment at Westfield, Massachusetts. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
