Wit has many uses in political discourse--to entertain, to underscore or unmask, to hinder or enhance insight. Wit and the Writing of History focuses on how this potential is realized in the historiography of the earlier Principate. Preeminently in Tacitus, to a lesser degree in Suetonius and Dio Cassius, wit is a vehicle for political understanding and judgment of the historical account. As part of Roman political life, hostile anecdotal or epigrammatic wit was deeply embedded in the sources used by historians and is reflected in the rhetoric of their narratives. Some anecdotes may, in fact, have been mere jests later taken as fact, hence the frequent problem of credulity. But what is historically false can be politically true. Not only were political jokes a weapon for making some fair points against the Principate; ancient rhetorical theory recognized that wit in general arises from a violation of normal, expected ways of thinking. What is "funny" is thus disturbing in a serious way as well as amusing, and in the hands of Tacitus wit becomes scalpel as well as sword.

"Familiarity breeds contempt — and children." "When angry, count to four; when very angry, swear." "Heaven for climate. Hell for company." This attractive paperback gift edition of the renowned American humorist's epigrams and witticisms features hundreds of quips on life, love, history, culture, travel, and other topics from his fiction, essays, letters, and autobiography.

These essays examine a millennium of humorous and satirical writing in the Islamic world. Humor in Arabic, Persian, and Turkish narrative emerges here as a culturally modulated phenomenon that demands examination with reference to its historical framework and that, in turn, communicates as much about its producers as it does about its audience.

Grayling doesn't want to be a hero, but to save her mother from a dark enchantment, she seeks out the few second-string magic makers who haven't been immobilized by the spell and goes off in search of her mother's grimoire, or book of magic. Obstacles both natural and supernatural block their way, and friction within the group delays the journey. Surprising herself, Grayling finds the strength and decisiveness to move the group forward and reach her goal. Eccentric witches and wizards plus a shape-shifting mouse provide moments of high comedy, as do odd practices that date back to the Middle Ages, such as divination with cheese.

A return to the wit and wisdom of Boris Johnson – Brexiteer, Foreign Secretary, Prime Minister. New and updated edition. 2019 – the year that Boris took on the 'lingering gloomadon-poppers', pledged to steer the UK between the 'Scylla and Charybdis of Corbyn and Farage' and into the calmer waters of political freedom. Of course there was always bound to be 'a bit of plaster coming off the ceilings of Europe's Chanceries'. Harry Mount has updated his edited collection of the Prime Minister's wit and wisdom with three new chapters dealing with Boris's time as Brexiteer-in-chief; Foreign Secretary and 'On the Threshold of Downing Street'. He describes Boris's Brexit campaign, his leadership breakdown in 2016, his ups and downs as Foreign Secretary, his time outside the political establishment, his turbulent private life and how Boris felt it was his manifest destiny to become the prime minister. So buckle up for a riotous tour of the million-pound NHS funder, golden wonder, pro-having, pro-eating blond behemoth. This is The Wit and Wisdom of Boris Johnson.

Literary composition is more than an intellectual affair. Poetry has long been said to spring from the heart, while aspiring writers are frequently encouraged to write "from the gut." Still another formulation likens the poetic imagination to the pregnant womb, in spite of the fact that most poets historically have been male. Offering a rather different set of arguments about the forces that shape creativity, Raymond Stephanson examines how male writers of the Enlightenment imagined the origins, nature, and structures of their own creative impulses as residing in their virility. For Stephanson, the links between male writing, the social contexts of masculinity, and the male body—particularly the genitalia—played a significant role in the self-fashioning of several generations of male authors. Positioning sexuality as a volatile mechanism in the development of creative energy, The Yard of Wit explains why male writers associated their authorial work—both the internal site of creativity and its status in public—with their genitalia and reproductive and erotic acts, and how these gestures functioned in the new marketplace of letters. Using the figure and writings of Alexander Pope as a touchstone, Stephanson offers an inspired reading of an important historical convergence, a double commodification of male creativity and of masculinity as the sexualized male body. In considering how literary discourses about male creativity are linked to larger cultural formations, this elegant, enlightening book offers new insight into sex and gender, maleness and masculinity, and the intricate relationship between the male body and mind.

Winner of the 1999 Pulitzer Prize for Drama, the New York Drama Critics Circle Award, the Drama Desk Award, the Outer Critics Circle Award, the Lucille Lortel Award, and the Oppenheimer Award. Adapted to an Emmy Award-winning television movie, directed by Mike Nichols, starring Emma Thompson. Margaret Edson's powerfully imagined Pulitzer Prize–winning play examines what makes life worth living through her exploration of one of existence's unifying experiences—mortality—while she also probes the vital importance of human relationships. What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, "The play is not about doctors or even about cancer. It's about kindness, but it shows arrogance. It's about compassion, but it shows insensitivity." In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end? The immediacy of the presentation, and the clarity and elegance of Edson's writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

Presents advice to help young readers compose their own poems, including twelve points on the use of rhythm, rhyme, alliteration, similes, metaphors, Onomatopoeia, and several poetic forms.

"Histories and Fallacies is a primer on the conceptual and methodological problems in the discipline of history."--from publisher description.