Stepping out of the darkness, the American emerges upon the stage of history as a new character, as puzzling to himself as to others. American Humor, Constance Rourke's pioneering "study of the national character," singles out the archetypal figures of the Yankee peddler, the backwoodsman, and the blackface minstrel to illuminate the fundamental role of popular culture in fashioning a distinctive American sensibility. A memorable performance in its own right, American Humor crackles with the jibes and jokes of generations while presenting a striking picture of a vagabond nation in perpetual self-pursuit. Davy Crockett and Henry James, Jim Crow and Emily Dickinson rub shoulders in a work that inspired such later critics as Pauline Kael and Lester Bangs and which still has much to say about the America of Bob Dylan and Thomas Pynchon, Bill Clinton and George W. Bush.

A professor of American Studies—and stand-up comic—examines sharply focused comedy and its cultural utility in contemporary society. Outstanding Academic Title, Choice In this examination of stand-up comedy, Rebecca Krefting establishes a new genre of comedic production, “charged humor,” and charts its pathways from production to consumption. Some jokes are tears in the fabric of our beliefs—they challenge myths about how fair and democratic our society is and the behaviors and practices we enact to maintain those fictions. Jokes loaded with vitriol and delivered with verve, charged humor compels audiences to action, artfully summoning political critique. Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. All Joking Aside offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu. The popularity of charged humor has waxed and waned over the past sixty years. Indeed, the history of charged humor is a tale of intrigue and subversion featuring dive bars, public remonstrations, fickle audiences, movie stars turned politicians, commercial airlines, emergent technologies, neoliberal mind-sets, and a cavalcade of comic misfits with an ax to grind. Along the way, Krefting explores the fault lines in the modern economy of humor, why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace. Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline.

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.

This comprehensive history of black humor sets it in the context of American popular culture. Blackface minstrelsy, Stepin Fetchit, and the Amos 'n' Andy show presented a distorted picture of African Americans; this book contrasts this image with the authentic underground humor of African Americans found in folktales, race records, and all-black shows and films. After generations of stereotypes, the underground humor finally emerged before the American public with Richard Pryor in the 1970s. But Pryor was not the first popular comic to present authentically black humor. Watkins offers surprising reassessments of such seminal figures as Fetchit, Bert Williams, Moms Mabley, and Redd Foxx, looking at how they paved the way for contemporary comics such as Whoopi Goldberg, Eddie Murphy, and Bill Cosby.

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.

Review: "This unique encyclopedia treats the concepts, persons, themes, and media of 20th-century American humor and humor studies. More than 100 alphabetically arranged entries highlight a broad range of humor-related topics from wit, understatement, and ambiguity to late-night talk shows and the Internet."--"Outstanding Reference Sources," American Libraries, May 2001

Although he called himself merely a “printer” in his will, Benjamin Franklin could have also called himself a diplomat, a doctor, an electrician, a frontier general, an inventor, a journalist, a legislator, a librarian, a magistrate, a postmaster, a promoter, a publisher—and a humorist. John Adams wrote of Franklin, “He had wit at will. He had humor that when he pleased was pleasant and delightful . . . [and] talents for irony, allegory, and fable, that he could adapt with great skill, to the promotion of moral and political truth.” In Benjamin Franklin’s Humor, author Paul M. Zall shows how one of America’s founding fathers used humor to further both personal and national interests. Early in his career, Franklin impersonated the feisty widow Silence Dogood in a series of comically moralistic essays that helped his brother James outpace competitors in Boston’s incipient newspaper market. In the mid-eighteenth century, he displayed his talent for comic impersonation in numerous editions of Poor Richard’s Almanac, a series of pocket-sized tomes filled with proverbs and witticisms that were later compiled in Franklin’s The Way to Wealth (1758), one of America’s all-time bestselling books. Benjamin Franklin was sure to be remembered for his early work as an author, printer, and inventor, but his accomplishments as a statesman later in life firmly secured his lofty stature in American history. Zall shows how Franklin employed humor to achieve desired ends during even the most difficult diplomatic situations: while helping draft the Declaration of Independence, while securing France’s support for the American Revolution, while brokering the treaty with England to end the War for Independence, and while mediating disputes at the Constitutional Convention. He supervised and facilitated the birth of a nation with customary wit and aplomb. Zall traces the development of an acute sense of humor throughout the life of a great American. Franklin valued humor not as an end in itself but as a means to gain a competitive edge, disseminate information, or promote a program. Early in life, he wrote about timely topics in an effort to reach a mass reading class, leaving an amusing record of early American culture. Later, Franklin directed his talents toward serving his country. Regardless of its origin, the best of Benjamin Franklin’s humor transcends its initial purpose and continues to evoke undying laughter at shared human experiences.

"From renowned comedy journalist and historian Kliph Nesteroff comes the underappreciated story of Native Americans and comedy"--