Don T Stop Me If You Ve Heard This Before

In (Don’t) Stop Me If You’ve Heard This Before, Peter Turchi combines personal narrative and close reading of a wide range of stories and novels to reveal how writers create the fiction that matters to us. Building on his much-loved Maps of the Imagination: The Writer as Cartographer, Turchi leads readers and writers to an understanding of how the intricate mechanics of storytelling—including shifts in characters’ authority, the subtle manipulation of images, careful attention to point of view, the strategic release of information, and even digressing from the (apparent) story—can create powerful effects. Using examples from Dickens, Chekhov, and Salinger, and Twain to more contemporary writers including Toni Morrison, Alice Munro, E. L. Doctorow, Jenny Erpenbeck, Adam Johnson, Mohsin Hamid, Jai Chakrabarti, Yoko Ogawa, Richard Powers, Deborah Eisenberg, Olga Tokarczuk, Rachel Cusk, and Colson Whitehead, Turchi offers illuminating insights into the inner workings of fiction as well as practical advice for writers looking to explore their craft from a fresh angle beyond the fundamentals of character and setting, plot, and scene. While these essays draw from decades of teaching undergraduate and graduate students, they also speak to writers working on their own. In “Out of the Workshop, into the Laboratory,” Turchi discusses how anyone can make the most of discussions of stories or novels in progress, and in “Reading Like a Writer” he provides guidelines for learning from writing you admire. Perhaps best of all, these essays by a writer the Houston Chronicle has called “one of the country’s foremost thinkers on the art of writing” are as entertaining as they are edifying, always reminding us of the power and pleasure of storytelling.

Before he met Mia, resigned loser Albert Kim was too busy dodging high school sociopaths to imagine having a girlfriend. Much less the adorable ex-girlfriend of alpha jerk Ryan Stackhouse. Yet somehow, by the end of a summer working at an inn together, Al and Mia are “something.” Then September arrives with a thud: Ryan has been diagnosed with cancer and needs Mia at his side. As the school year turns into one giant tribute to Ryan, Al can’t help but notice that Ryan may not be quite who everyone—particularly Mia—thinks he is. Before his heart shatters completely, Al has just a few more things to point out. . . .

Soupy Sales was a longtime host of an event at Friars Club called “Stop Me If You’ve Heard It” where a group of comics all seated on bar stools attempt to top each other by telling a joke. By the end of the evening it’s not all that clear who actually topped who since the audience is too busy brushing tears away, doubling over in laughter, and praying their bladders remain intact before making a beeline to the bathrooms. Hilarious doesn’t even begin to describe these evenings. This event with Soupy as top banana was as highly anticipated as The Friars’ infamous Roasts, and his comic legacy endures in this book of his favorite jokes. “There is never a dull moment when Soupy is in the room. The Friars are lucky—we just have to turn around and listen to Soupy tell his hilarious jokes. Thanks to this book, though, you’ve got the next best thing—if you can’t join him, read him. The Soup is on and he’s boiling over with laughs.” - Barry Dougherty of The Friars Club

“Finally I understand what it is I’ve been laughing at all these years.”—Jimmy Kimmel From the best-selling author of Why Does the World Exist? comes this outrageous, uproarious compendium of absurdity, filth, racy paradox, and gratuitous offensiveness—just the kind of mature philosophical reflection readers have come to expect from the ever-entertaining Jim Holt. Indeed, Stop Me If You’ve Heard This is the first book to trace the evolution of the joke all the way from the standup comics of ancient Athens to the comedy-club Seinfelds of today. After exploring humor’s history in Part One, Holt delves into philosophy in Part Two: Wall Street jokes; jokes about rednecks and atheists, bulimics and politicians; jokes you missed if you didn’t go to a Catholic girls’ school; jokes about logic and existence itself . . . all became fodder for the grand theories of Aristotle, Kant, Freud, and Wittgenstein in this heady mix of the high and low, of the ribald and profound, from America’s most beloved philosophical pundit.

The Avengers was a classic television show that lighted the sixties from 1961 to 1969. Its repeat runs have garnered a mass of fans. One such fan is Chris. He's a regular man and has had what everyone would call a regular life. But on one of these regular days, The Avengers burst into his world and set him on an interesting course that would lead him not only to a deep affection for the show as a fan but also towards a possible career. This semi-autobiographical work of fiction is fascinating reading from beginning to end.

In this volume, Shepherd selects from these, and from other unpublished works, to shape a series of poems that seek to portray and even illuminate, to some extent, the life of the spirit. They begin by tracing the progress of a typical year--January through December--but also by noting, and celebrating at times, the high points of "The Christian Year": Lent-Easter, Pentecost, Thanksgiving, Advent-Christmas, and Epiphany. Other, more generally themed, less calendar-related poems follow, including poems that reflect on the September 11, 2001 attack on the World Trade Center--an attack in which several of the author's parishioners and friends were killed. This is a book to be dipped into, rather than read right through. It should provide fertile soil for the practice of daily prayer and meditation.

Shakespeare's four-hundred-year performance history is full of anecdotes – ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.