The National Joker

Index -- About the Author -- Back Cover

Abraham Lincoln’s sense of humor proved legendary during his own time and remains a celebrated facet of his personality to this day. Indeed, his love of jokes—hearing them, telling them, drawing morals from them—prompted critics to dub Lincoln “the National Joker.” The political cartoons and print satires that mocked Lincoln often trafficked in precisely the same images and terms Lincoln humorously used to characterize himself. In this intriguing study, Todd Nathan Thompson considers the politically productive tension between Lincoln’s use of satire and the satiric treatments of him in political cartoons, humor periodicals, joke books, and campaign literature. By fashioning a folksy, fallible persona, Thompson shows, Lincoln was able to use satire as a weapon without being severely wounded by it. In his speeches, writings, and public persona, Lincoln combined modesty and attack, engaging in strategic self-deprecation while denouncing his opponents, their policies, and their arguments, thus refiguring satiric discourse as political discourse and vice versa. At the same time, he astutely deflected his opponents’ criticisms of him by embracing and sometimes preemptively initiating those criticisms. Thompson traces Lincoln’s comic sources and explains how, in reapplying others’ jokes and stories to political circumstances, he transformed humor into satire. Time and time again, Thompson shows, Lincoln engaged in self-mockery, turning negative assumptions or depictions of him—as ugly, cowardly, jocular, inexperienced—into positive traits that identified him as an everyman while attacking his opponents’ claims to greatness, heroism, and experience as aristocratic or demagogic. Thompson also considers how Lincoln took advantage of political cartoons and other media to help proliferate the particular Lincoln image of the “self-made man”; underscores exceptions to Lincoln’s ability to mitigate negative, satiric depictions of him; and closely examines political cartoons from both the 1860 and 1864 elections. Throughout, Thompson’s deft analysis brings to life Lincoln’s popular humor.

This edition includes a packet of Andrew Hudgins's favorite jokes, plus original commentary by the author. Since Andrew Hudgins was a child, he was a compulsive joke teller, so when he sat down to write about jokes, he found that he was writing about himself—what jokes taught him and mistaught him, how they often delighted him but occasionally made him nervous with their delight in chaos and sometimes anger. Because Hudgins’s father, a West Point graduate, served in the US Air Force, his family moved frequently; he learned to relate to other kids by telling jokes and watching how his classmates responded. And jokes opened him up to the serious, taboo subjects that his family didn’t talk about openly—religion, race, sex, and death. Hudgins tells and analyzes the jokes that explore the contradictions in the Baptist religion he was brought up in, the jokes that told him what his parents would not tell him about sex, and the racist jokes that his uncle loved, his father hated, and his mother, caught in the middle, was ambivalent about. This book is both a memoir and a meditation on jokes and how they educated, delighted, and occasionally horrified him as he grew.

To prepare for the role of the Joker, Heath Ledger locked himself in a London hotel room, trying to understand and become a character he saw as "an absolute sociopath, a cold-blooded, mass-murdering clown" who was not intimidated by anything and found all of life "a big joke." In the end, Ledger's obsession with his role contributed to his own death from drugs before The Dark Knight was released. The connections and irony are too close to ignore. The movie gives the world a curious twist on the roles of Batman and the Joker. It's politically incorrect, and yet emotionally the Joker's insanity becomes more endearing than Batman's noble sacrifice. What is it? Why does this psychopath seem to have a sense of higher truths in his insanity? This is the role of the Joker or the Fool, a standard character in theatre, and a role consciously adopted by serious artists since the late 1800s. Just as Shakespeare's Fool in King Lear used his riddles and puns and satire to reveal the truths the royal leaders of his world could not or refused to see, today's artists are both revealing the darkness within the culture and offering a way out. Waiting for Godot has been proclaimed the greatest play of the twentieth century. But there are no great roles in it, no characters representing the equivalent of Shakespeare's Hamlet. Rather, the two main characters are closer to T. S. Eliot's J. Alfred Prufrock, who says he cannot be a Hamlet, only, perhaps, Hamlet's Fool. This book explores what has happened as Europe's culture fragmented and the world lost its center. It explores a range of different arenas, from political and social and religious happenings to scientific and artistic expressions, in order to find the centers of the human condition and how the dark expressions of meaninglessness so commonly highlighted are more rites-of-passage than the final destination.

A gang of bank robbers known as the Jokers has the authorities scratching their heads. The FBI believes the bank robbers consist of meta-humans—genetically engineered humans with superior abilities—because not only are they extremely elusive, but one of them outran a speeding car. Having experience with metas, Special Agents Gabi Longoria and Ian Armory are called in to catch them. Gabi and Ian quickly figure out the identity of three of the four robbers. The fourth member, who they believe is the gang’s mastermind, remains a secret. What’s worse, he is actively trying to kill Gabi. Everywhere she goes, she has to worry about him assassinating her. The clock is ticking as she and Ian desperately try to find the Joker - before he can find her...

Breaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and derided, and which arrived at a time of unprecedented social malaise. The collection breaks down Joker to explore its aesthetic and ideological representations within the social and cultural context in which it was released. An international team of authors explore Joker’s sightlines and subtexts, the affective relationships, corrosive ideologies, and damning, if ambivalent, messages of this film. The chapters address such themes as white masculinity, identity and perversion, social class and mobility, urban loneliness, movement and music, and questions of reception and activism. With contributions from scholars from screen studies, theatre and performance studies, psychology and psychoanalysis, geography, cultural studies, and sociology, this fully interdisciplinary collection offers a uniquely multiple operational cross-examination of this pivotal film text and will be of great importance to scholars, students, and researchers in these areas.

Next up to the plate—book #5 in our early chapter book mystery series, where each book is set in a different American ballpark! The stars are out in Kansas City . . . the baseball stars, that is! Mike and Kate are at the All-Star game, and even get to go on the field during the Home Run Derby to catch pop-ups! That's where they meet Andy, whose dad, Josh Robinson, is an All-Star catcher. But before the Home Derby ends, Josh finds himself in hot water. Someone is playing practical jokes on the other players, and the coach is sure it's him. Andy swears his dad is innocent. Who would want to frame Josh? And why? The All-Star Joker includes a fun fact page about Kansas City's stadium. Cross Ron Roy's A to Z mystery series with Matt Christopher's sports books and you get the Ballpark Mysteries: fun, puzzling whodunnits aimed at the younger brothers and sisters of John Feinstein's fans.

After graduating from Princeton, Donovan Campbell wanted to give back to his country, engage in the world, and learn to lead. So he joined the service, becoming a commander of a forty-man infantry platoon called Joker One. Campbell had just months to train and transform a ragtag group of brand-new Marines into a first-rate cohesive fighting unit, men who would become his family. They were assigned to Ramadi, the capital of the Sunni-dominated Anbar province that was an explosion just waiting to happen. And when it did happen—with the chilling cries of "Jihad, Jihad, Jihad!" echoing from minaret to minaret—Campbell and company were there to protect the innocent, battle the insurgents, and pick up the pieces. Thrillingly told by the man who led the unit of hard-pressed Marines, Joker One is a gripping tale of a leadership and loyalty.