"Lyn Hejinian's work increasingly explores poetry's relation to knowledge... But rather than abstract frameworks, one finds in A Border Comedy a serial poem in fifteen 'books, ' coyotes, geese, didactic asides, horses, philosophical anecdotes, hawks, intercourse, wasps, Russian Formalist literary terms, goats, pigs, ravens and a great deal of urinating. It is through this particularity that Hejinian invents a poetic pedagogy at home with its forgiveness to itself, poised both to topple and attain intellectual authority, happily open to its lack of totalizing system... Situating her project more broadly within intellectual history, she writes: 'Digressing in a didactic tale will teach one to digress.' And digression, in all of its entertaining modes--the antecdote, the interpolated comment, the sudden shift of attention--is the displaced center of A Border Comedy... One of the interesting oddnesses of the book, one that forces us to catch our breath and occasionally to huff, is that quasi-transcendental or a priori insights (often linked to continental philosophy) find their way skillfully and unpredictably into what is otherwise a radically nominalistic, context-dependent intellectual setting." --Lytle Shaw, The Poetry Project Newsletter

David Steinberg's name has been synonymous with comedy for decades. The Canadian-born comedian, producer, writer, director, and author has been called "a comic institution himself" by the New York Times. He appeared on The Tonight Show Starring Johnny Carson 140 times (second only to Bob Hope), and directed episodes of popular television sitcoms, including Curb Your Enthusiasm, Seinfeld, Friends, Mad About You, The Golden Girls, and Designing Women. From 2012–2015, Steinberg hosted the comedy documentary series Inside Comedy, which featured such comedy greats as Billy Crystal, Chris Rock, and Gary Shandling. In this entertaining history of comedy, Steinberg shares insightful memories of his journey through his career and takes the reader behind the curtain of the comedy scene of the last half-century. Steinberg shares amusing and often hilarious stories and anecdotes from some of the most legendary comedians in the industry—from Groucho Marx, Carol Burnett, Mel Brooks, and Richard Pryor to Lily Tomlin, Robin Williams, Jerry Seinfeld, Julia Louis-Dreyfus, and Tina Fey. Inside Comedy presents in-depth portraits of some of the most talented and revered comedians in the world of comedy today.

"The Liberal Rednecks--a three-man stand-up comedy group doing scathing political satire--celebrate all that's good about the South while leading the Redneck Revolution and standing proudly blue in a sea of red. Smart, hilarious, and incisive, the Liberal Rednecks confront outdated traditions and intolerant attitudes, tackling everything people think they know about the South--the good, the bad, the glorious, and the shameful--in a laugh-out-loud funny and lively manifesto for the rise of a New South. Home to some of the best music, athletes, soldiers, whiskey, waffles, and weather the country has to offer, the South has also been bathing in backward bathroom bills and other bigoted legislation that Trae Crowder has targeted in his Liberal Redneck videos, which have gone viral with over 50 million views. Perfect for fans of Stuff White People Like and I Am America (And So Can You), The Liberal Redneck Manifesto skewers political and religious hypocrisies in witty stories and hilarious graphics--such as the Ten Commandments of the New South--and much more! While celebrating the South as one of the richest sources of American culture, this entertaining book issues a wake-up call and a reminder that the South's problems and dreams aren't that far off from the rest of America's"--

Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores. Naturally this breadth raises numerous philosophical questions that Bruns also addresses—for example, whether poetry should be responsible (semantically, ethically, politically) to anything outside itself, whether it can be reduced to categories, distinctions, and the rule of identity, and whether a particular poem can seem odd or strange when everything is an anomaly. Perhaps our task is simply to learn, like anthropologists, how to inhabit such an anarchic world. The poets taken up for study are among the most important and innovative in the late twentieth and early twenty-first centuries: John Ashbery, Charles Bernstein, Paul Celan, Kenneth Goldsmith, Lyn Hejinian, Susan Howe, Karen Mac Cormack, Steve McCaffery, John Matthias, J. H. Prynne, and Tom Raworth.What Are Poets For? is nothing less than a lucid, detailed study of some of the most intractable writings in contemporary poetry.

This blend of travelogue and reportage from the US-Mexico border is “an exploration of 2,000 miles of fraught, rugged and deeply contested territory” (Kirkus Reviews, starred review). In a quest to capture a real-life, close-up view of the land where so many have been kicked, cussed, spit on, arrested, detained, trafficked, or killed—and the subject that has been debated for decades by politicians and commentators—Charles D. Thompson records his journey from Boca Chica to Tijuana, and his conversations with everyone from border officials to migrant workers to local residents. Along the journey, five centuries of cultural history (indigenous, French, Spanish, Mexican, African American, colonist, and US), wars, and legislation unfold. Among the terrain traversed: walls and more walls, unexpected roadblocks, and patrol officers; a golf course (you could drive a ball across the border); a Civil War battlefield (you could camp there); the southernmost plantation in the US; a hand-drawn ferry, a road-runner tracked desert and a breathtaking national park; barbed wire, bridges, and a trucking-trade thoroughfare; ghosts with guns; obscured, unmarked, and unpaved roads; a Catholic priest and his dogs, artwork, icons, and political cartoons; a sheriff and a chain-smoking mayor; a Tex-Mex eatery empty of customers and a B&B shuttering its doors; murder-laden newspaper headlines at breakfast; the kindness of the border-crossing underground; and too many elderly, impoverished, ex-U.S. farmworkers, braceros, who lined up to have Thompson take their photograph. “A firsthand look at how modern U.S. border policy has affected the people in the region, from migrant workers to indigenous people to border patrol agents to residents of economically stagnant towns just north of the boundary. The result is a travel memoir with a conscience, an extension of Thompson’s ongoing work to humanize the hotly debated region.” —The News & Observer

An Economist “Our Books of the Year” Selection Economist Bryan Caplan makes a bold case for unrestricted immigration in this fact-filled graphic nonfiction. American policy-makers have long been locked in a heated battle over whether, how many, and what kind of immigrants to allow to live and work in the country. Those in favor of welcoming more immigrants often cite humanitarian reasons, while those in favor of more restrictive laws argue the need to protect native citizens. But economist Bryan Caplan adds a new, compelling perspective to the immigration debate: He argues that opening all borders could eliminate absolute poverty worldwide and usher in a booming worldwide economy—greatly benefiting humanity. With a clear and conversational tone, exhaustive research, and vibrant illustrations by Zach Weinersmith, Open Borders makes the case for unrestricted immigration easy to follow and hard to deny.

Humor and Latina/o Camp in Ugly Betty: Funny Looking expands the vista of critical approaches to comedy and representational politics on mainstream television from an interdisciplinary Latina/o studies approach. González and Rodriguez y Gibson examine how Ugly Betty uses humor and Latina/o camp to reframe socially charged issues on the show: representations of masculinity and familia, immigration, drag and queer subjectivities, Latina sexuality, and finally, a Latina feminist critique of the American Dream. Ugly Betty moves beyond the binaries of traditional representational politics and opens a vista of critical possibility applicable to all mainstream texts that portray people of color through comedy. This work will be of interest to scholars in media studies, Latina/o studies, and communication studies.

Recent critics have affirmed the difficulty?perhaps the impossibility?of defining modern comedy; at the same time, some feminist scholars are seeking to understand the special comedy often present in literature written by women. Comedy and the Woman Writer responds to both these concerns of recent criticism: feminist literary theory and theories of comedy. Judy Little develops a critical apparatus for identifying feminist comedy in recent fiction, especially the radical political and psychological implications of this comedy, and then applies and tests her theory by examining the novels of Virginia Woolf and Muriel Spark. Despite recent scholarly attention to Woolf, the profound comedy of her work has been largely overlooked, and the comic fiction of Spark has seldom had the responsible and attentive criticism that it deserves. The introductory chapter draws upon anthropology and sociology, as well as literary criticism and the fiction of feminist writers such as Woolf, Doris Lessing, and Monique Wittig, to define a modern feminist comedy. Four central chapters then explore the implications of this comedy in the novels of Woolf and Spark. Little distinguishes between, on the one hand, several varieties of traditional comedy and satire and, on the other, the festive or ?liminal? comedy to which feminist comedy belongs. Both Woolf and Spark mock centuries-old mythic patterns and behaviors deriving from basic social norms, as well as the values emerging from these norms. It is one thing, the author points out, to find ?manners? amusing, to scourge vices, or to mock the follies of lovers; it is a much more drastic act of the imagination to mock the very norms against which comedy has traditionally judged vices, follies, and eccentricities. While the comedy of Woolf and Spark has some precedent in festive or liminal celebrations, during which even basic values and behavior are abandoned, feminist comedy displays its radical nature by implying that there is no resolution to the inverted overturned world, the world in revolutionary transition. The final chapter considers briefly, in the light of the critical model of feminist comedy, the work of several other twentieth-century writers, including Jean Rhys, Penelope Moritmer, and Margaret Drabble. The presence of radical comedy in the fiction of these and other writers suggests the need for continuing attention to the theory of feminist comedy proposed in this study.

In this interdisciplinary volume, contributors analyze the expression of Latina/o cultural identity through performance. With music, theater, dance, visual arts, body art, spoken word, performance activism, fashion, and street theater as points of entry, contributors discuss cultural practices and the fashoning of identity in Latino/a communities throughout the US. Examining the areas of crossover between Latin and American cultures gives new meaning to the notion of "borderlands." This volume features senior scholars and up-and-coming academics from cultural, visual, and performance studies, folklore, and ethnomusicology.

"Border Witness offers a surprising catalogue of films dealing with the US-Mexico border and released during the past 100 years. It compares these screen visions with what was happening on the ground at the time in both countries. From revolution through to the present global crisis, the films are left to speak for themselves, but their stories are measured alongside the author's experience following decades of research, writing, and activism along the line. Taken together, this book outlines a unique Border Film genre just now entering its Golden Age. This book also comes with a message to both nations that they should learn more from borderlanders about how to conduct cross-border lives"--