The Joke Is On Us

This book provides a critical assessment of the broad range of responses by political comedians to the acceleration of neoliberal policy following the 2007 recession. The volume assesses the effectiveness of comedy in its encounter with market logic and material impact in culture, politics and mass media.

There is nothing new about practical jokes at Macdonald Hall. The latest round includes water in the swimming pool being turnedblue, the statue of Sir John A. getting a snazzy new outfit, and extra soap being snuck into the dishwasher just for fun. Of course, all fingers point to the usual suspects – Bruno Walton and Boots O'Neal. The funny thing – they are not the ones pulling the pranks this time! But they are unsure just who the new prankster is, and they have to prove they're innocent before they get expelled.

Only a Joke Can Save Us presents an innovative and comprehensive theory of comedy. Using a wealth of examples from high and popular culture and with careful attention to the treatment of humor in philosophy, Todd McGowan locates the universal source of comedy in the interplay of the opposing concepts lack and excess. After reviewing the treatment of comedy in the work of philosophers as varied as Aristotle, G. W. F. Hegel, Sigmund Freud, Henri Bergson, and Alenka Zupancic, McGowan, working in a psychoanalytic framework, demonstrates that comedy results from the deployment of lack and excess, whether in contrast, juxtaposition, or interplay. Illustrating the power and flexibility of this framework with analyses of films ranging from Buster Keaton and Marx Brothers classics to Dr. Strangelove and Groundhog Day, McGowan shows how humor can reveal gaps in being and gaps in social order. Scholarly yet lively and readable, Only a Joke Can Save Us is a groundbreaking examination of the enigmatic yet endlessly fascinating experience of humor and comedy.

“A sensitive and vivid study of early female stand-ups… [Levy is a] painstaking, knowledgeable guide.” —New York Times Book Review A hilarious and moving account of the trailblazing women of stand-up comedy who broke down walls so they could stand before the mic—perfect for fans of The Marvelous Mrs. Maisel and Hacks Today, women are ascendant in stand-up comedy, even preeminent. They make headlines, fill arenas, spawn blockbuster movies. But before Amy Schumer slayed, Tiffany Haddish killed, and Ali Wong drew roars, the very idea of a female comedian seemed, to most of America, like a punch line. And it took a special sort of woman—indeed, a parade of them—to break and remake the mold. In on the Joke is the story of a group of unforgettable women who knocked down the doors of stand-up comedy so other women could get a shot. It spans decades, from Moms Mabley’s rise in Black vaudeville between the world wars, to the roadhouse ribaldry of Belle Barth and Rusty Warren in the 1950s and '60s, to Elaine May's co-invention of improv comedy, to Joan Rivers's and Phyllis Diller’s ferocious ascent to mainstream stardom. These women refused to be defined by type and tradition, facing down indifference, puzzlement, nay-saying, and unvarnished hostility. They were discouraged by agents, managers, audiences, critics, fellow performers—even their families. And yet they persevered against the tired notion that women couldn’t be funny, making space not only for themselves, but for the women who followed them. Meticulously researched and irresistibly drawn, Shawn Levy's group portrait forms a new pantheon of comedy excellence. In on the Joke shows how women broke into the boys’ club, offered new ideas of womanhood, and had some laughs along the way.

What do you get when you cross Lao Tzu and an application for a university teaching application? What do you get when you give W. G. Sebald and Clarice Lispector the ability to speak from the afterlife? What happens if a girl is stopped at a red light for an entire year? In on the Great Joke is a palace of hybridity, where film structure informs poetry, poetry alters the essay, the essay recalibrates the joke. Broadbent has lent her ear to the dead, the living, the voiceless, to give us the punchline of what it means to be intellectually alive. Laura Broadbent is the author of Oh There You Are I Can't See You Is It Raining?, which won the 2012 Robert Kroetsch Award for Innovative Poetry. She lives in Montreal, Queceb, where she is working on her PhD in Literature.

Gordon Korman's classic, bestselling series celebrates its 35th anniversary! Macdonald Hall's ivy-covered buildings have housed and educated many fine young Canadians. But Bruno Walton and Boots O'Neal are far from being fine young Canadians. The roommates and best friends are nothing but trouble! Together they've snuck out after lights-out, swapped flags, kidnapped mascots . . . and that's only the beginning. There is nothing new about practical jokes at Macdonald Hall. The latest round includes water in the swimming pool being turned blue, the statue of Sir John A. getting a snazzy new outfit, and extra soap being snuck into the dishwasher just for fun. Of course, all fingers point to the usual suspects -- Bruno Walton and Boots O'Neal. The funny thing -- they are not the ones pulling the pranks this time! But they are unsure just who the new prankster is, and they have to prove they're innocent before they get expelled. Join two of Gordon Korman's most memorable characters in seven side-splitting, rip-roaring adventures! Macdonald Hall is the series that started it all, and thirty-five years later it remains a must-read for old fans and new, the young -- and the young at heart.

Salman Rushdie wrote, "DC: Washington is being taken over by DC: Comics." The world is increasingly understood as a comic story, involving superheroes and supervillains. Confusingly, they are often one and the same. Donald Trump is the superhero for conservatives and the supervillain for liberals. Heroes and villains are now shapeshifters. They no longer reflect a common narrative. Their heroism or villainy depends on where you stand in the culture wars. Next time you go to watch a superhero movie, imagine what it would be like if the superhero kept "flickering" into his opposite – the supervillain. Would you be able to follow the story? Whom would you be rooting for? Wouldn't the plot be all over the place? You wouldn't understand anyone's motivation. The story would be pure chaos. Welcome to the Cosmic Jest. Read this book if you don't want the joke to be on you.