Tony Pellar, a man of former style and fading beauty, has fled to the subway tunnels beneath New York. There he makes an even more perilous interior journey convinced the key to his sanity lies in retracing the events of his North Carolina childhood. As Tony gradually remembers, the stories of both his childhood friend Mikey, and of Agatha, a complex woman with a disfigured face, interweave with his own. All three stories finally come together against the backdrop of the civil rights movement and a heartrending and haunting climax.

Uncovering an archive of laughter, from the forbidden giggle to the explosive guffaw. Most of our theories of laughter are not concerned with laughter. Rather, their focus is the laughable object, whether conceived of as the comic, the humorous, jokes, the grotesque, the ridiculous, or the ludicrous. In Laughter, Anca Parvulescu proposes a return to the materiality of the burst of laughter itself. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones. Historically, laughter—especially the passionate burst of laughter—has often been a faux pas. Manuals for conduct, abetted by philosophical treatises and literary and visual texts, warned against it, offering special injunctions to ladies to avoid jollity that was too boisterous. Returning laughter to the history of the passions, Parvulescu anchors it at the point where the history of the grimacing face meets the history of noise. In the civilizing process that leads to laughter's “falling into disrepute,” as Nietzsche famously put it, we can see the formless, contorted face in laughter being slowly corrected into a calm, social smile. How did the twentieth century laugh? Parvulescu points to a gallery of twentieth-century laughers and friends of laughter, arguing that it is through Georges Bataille that the century laughed its most distinct laugh. In Bataille's wake, laughter becomes the passion at the heart of poststructuralism. Looking back at the century from this vantage point, Parvulescu revisits four of its most challenging projects: modernism, the philosophical avant-gardes, feminism, and cinema. The result is an overview of the twentieth century as seen through the laughs that burst at some of its most convoluted junctures.

On one miserably wet and cheerless afternoon of February, 1915, the picket-boat of H.M.S. Achates lay alongside the King's Stairs at Portsmouth Dockyard, whilst her crew, with their boat-hooks, kept her from bumping herself against the lowest steps. The rain trickled down their glistening oilskins, and dark, angry clouds sweeping up from behind Gosport Town on the opposite side of the harbour, and scudding overhead, one after the other, in endless battalions, made it certain that a south-westerly gale was raging in the Channel. At the top of the steps, with his back to the wind and rain, his feet wide apart, and his hands in his pockets, was the midshipman of the boat, in oilskin, sou'wester, and sea-boots. This was Mr. Vincent Orpen-commonly known as the Orphan-not very tall, but sturdy and broad-shouldered in his bulky oilskins. Between the brim of his dripping sou'wester and his turned-up collar showed a pair of very humorous eyes, a determined-looking nose and mouth, and a pair of large ears reddened by the cold and rain.

"The log of the clay worker": v. 100, p. 188-193.

This essay collection is dedicated to intersections between gender theories and theories of laughter, humour, and comedy. It is based on the results of a three-year research programme, entitled “Gender – Laughter – Media” (2003-2006) and includes a series of investigations on traditional and modern media in western cultures from the 18th to the 20th century. A theoretical opening part is followed by four thematic sections that explore the multiple forms of irritating stereotypical gender perceptions; aspects of (post-)colonialism and multiculturalism; the comic impact of literary and media genres in different national cultures; as well as the different comic strategies in fictional, philosophical, artistic or real life communication. The volume presents a variety of new approaches to the overlaps between gender and laughter that have only barely been considered in groundbreaking research. It forms a valuable read for scholars of literary, theatre, media, and cultural studies, at the same time reaching out to a general readership.