This is the first publication in English of the anthology that contains Breton's definitive statement on l'humour noir, one of the seminal concepts of Surrealism, and his provocative assessments of the writers he most admired. While some of the authors featured in the Anthology of Black Humor are already well known to American readers-Swift, Kafka, Rimbaud, Poe, Lewis Carroll, and Baudelaire among them (and even then, Breton's selections are often surprising)-many others are sure to come as a revelation. The entries range from the acerbic aphorisms of Swift, Lichtenberg, and Duchamp to the theatrical slapstick of Christian Dietrich Grabbe, from the wry missives of Rimbaud and Jacques Vache to the manic paranoia of Dali, from the ferocious iconoclasm of Alfred Jarry and Arthur Craven to the offhand hilarity of Apollinaire at his most spontaneous. For each of the forty-five authors included, Breton has provided an enlightening biographical and critical preface, situating both the writer and the work in the context of black humor-a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as "a superior revolt of the mind." Andre Breton (1896-1966), the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. His best-known works in English translation include Nadja, Mad Love, The Manifestoes of Surrealism, The Magnetic Fields (with Philippe Soupault), and Earthlight. Mark Polizzotti is the author of Revolution of the Mind: The Life of Andre Breton.

This is Breton's definitive statement on l'humour noir, one of the seminal concepts of Surrealism. In his provocative anthology of the writers he most admires, Breton discusses the acerbic aphorisms of Swift, Lichtenberg and Duchamp, the theatrical slapstick of Christian Dietrich Grabbe, the wry missives of Rimbaud, the manic paranoia of Dalí, the ferocious iconoclasm of Alfred Jarry and the offhand hilarity of Apollinaire. For each of the authors included, Breton provides an enlightening preface, situating both the writer and the work in the context of black humour - a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as 'a superior revolt of the mind'. This edition includes Breton's original introduction, and work from: Duchamp, Fourier, De Quincey, de Sade, Borel, Poe, Forneret, Baudelaire, Dali Lewis Carroll, Swift, Lichtenberg, Comte de Lautréamont, Nietzsche, Huysmans, Corbiere, Nouveau, O. Henry, Gide, Synge, Roussel, Picabia, Apollinaire, Jarry, Arp, Picasso, Kafka, Prévert and Leonora Carrington.

Edited by the author of The Sellout, winner of the 2016 Man Booker Prize, Hokum is a liberating, eccentric, savagely comic anthology of the funniest writing by black Americans. This book is less a comprehensive collection than it is a mix-tape narrative dubbed by a trusted friend-a sampler of underground classics, rare grooves, and timeless summer jams, poetry and prose juxtaposed with the blues, hip-hop, political speeches, and the world's funniest radio sermon. The subtle musings of Toni Cade Bambara, Henry Dumas, and Harryette Mullen are bracketed by the profane and often loud ruminations of Langston Hughes, Darius James, Wanda Coleman, Tish Benson, Steve Cannon, and Hattie Gossett. Some of the funniest writers don't write, so included are selections from well-known yet unpublished wits Lightnin' Hopkins, Mike Tyson, and the Reverend Al Sharpton. Selections also come from public figures and authors whose humor, although incisive and profound, is often overlooked: Malcolm X, Suzan-Lori Parks, Zora Neale Hurston, Sojourner Truth, and W.E.B. Dubois. Groundbreaking, fierce, and hilarious, this is a necessary anthology for any fan or student of American writing, with a huge range and a smart, political grasp of the uses of humor.

This collection of anecdotes, tales, jokes, toasts, rhymes, satire, riffs, poems, stand-up sketches, and snaps documents the evolution of African American humor over the past two centuries. It includes routines and writings from such luminaries as Bert Williams, Butterbeans & Susie, Stepin Fetchit, Moms Mabley, Ralph Ellison, Langston Hughes, Redd Foxx, Ishmael Reed, Bill Cosby, Richard Pryor, Martin Lawrence, and Chris Rock. This anthology includes classic stage routines, literary examples, and witty quotations presented in their entirety.

There’s nothing funny about dying … or is there? Malachy McCourt, Jacquelyn Mitchard, and 22 more share hilarious and moving stories of confronting death. Exit Laughing makes death more approachable as it reveals the funny side of “passing on.” As painful as it is to lose a loved one, Exit Laughing shows us that in times of grief, humor can help us with coping and even healing. Best-selling author Amy Ferris explains how her mother’s dementia led to a permanent ban from an airline. Ellen Sussman writes of flying her mother's body home and watching the burial wardrobe spill out on the baggage carousel. Broadway and television actor Richard McKenzie shares the riotous story of a funeral procession led by a lost hearse. Bonnie Garvin even manages to find a heavy dose of dark humor in her parents’ three unsuccessful attempts at a double suicide. These stories, along with tales from Joshua Braff, Barbara Graham, Dianne Rinehart, and more, constitute a book whose purpose is to remind readers that when dealing with illness, aging, and dying, there is an important place for laugh-out-loud humor.

Presents a collection of short horror fiction by such authors as Charlaine Harris, Jim Butcher, Sherrilyn Kenyon, and Kelley Armstrong.

"I am the man," wrote Artaud, "who has best charted his inmost self." Antonin Artaud was a great poet who, like Poe, Holderlin, and Nerval, wanted to live in the infinite and asked that the human spirit burn in absolute freedom. To society, he was a madman. Artaud, however, was not insane but in luciferian pursuit of what society keeps hidden. The man who wrote Van Gogh the Man Suicided by Society raged against the insanity of social institutions with insight that proves more prescient with every passing year. Today, as Artaud's vatic thunder still crashes above the "larval confusion" he despised, what is most striking in his writings is an extravagant lucidity. This collection gives us quintessential Artaud on the occult, magic, the theater, mind and body, the cosmos, rebellion, and revolution in its deepest sense.