2021 Honorable Mention Recipient of the Charles Hatfield Book Prize from the Comics Studies Society Taking up the role of laughter in society, How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 examines an era in which the US population was becoming increasingly multiethnic and multiracial. Comic artists and writers, hoping to create works that would appeal to a diverse audience, had to formulate a method for making the “other half” laugh. In magazine fiction, vaudeville, and the comic strip, the oppressive conditions of the poor and the marginalized were portrayed unflinchingly, yet with a distinctly comic sensibility that grew out of caricature and ethnic humor. Author Jean Lee Cole analyzes Progressive Era popular culture, providing a critical angle to approach visual and literary humor about ethnicity—how avenues of comedy serve as expressions of solidarity, commiseration, and empowerment. Cole’s argument centers on the comic sensibility, which she defines as a performative act that fosters feelings of solidarity and community among the marginalized. Cole stresses the connections between the worlds of art, journalism, and literature and the people who produced them—including George Herriman, R. F. Outcault, Rudolph Dirks, Jimmy Swinnerton, George Luks, and William Glackens—and traces the form’s emergence in the pages of Joseph Pulitzer’s New York World and William Randolph Hearst’s Journal-American and how it influenced popular fiction, illustration, and art. How the Other Half Laughs restores the newspaper comic strip to its rightful place as a transformative element of American culture at the turn into the twentieth century.

2021 Honorable Mention Recipient of the Charles Hatfield Book Prize from the Comics Studies Society Taking up the role of laughter in society, How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 examines an era in which the US population was becoming increasingly multiethnic and multiracial. Comic artists and writers, hoping to create works that would appeal to a diverse audience, had to formulate a method for making the “other half” laugh. In magazine fiction, vaudeville, and the comic strip, the oppressive conditions of the poor and the marginalized were portrayed unflinchingly, yet with a distinctly comic sensibility that grew out of caricature and ethnic humor. Author Jean Lee Cole analyzes Progressive Era popular culture, providing a critical angle to approach visual and literary humor about ethnicity—how avenues of comedy serve as expressions of solidarity, commiseration, and empowerment. Cole’s argument centers on the comic sensibility, which she defines as a performative act that fosters feelings of solidarity and community among the marginalized. Cole stresses the connections between the worlds of art, journalism, and literature and the people who produced them—including George Herriman, R. F. Outcault, Rudolph Dirks, Jimmy Swinnerton, George Luks, and William Glackens—and traces the form’s emergence in the pages of Joseph Pulitzer’s New York World and William Randolph Hearst’s Journal-American and how it influenced popular fiction, illustration, and art. How the Other Half Laughs restores the newspaper comic strip to its rightful place as a transformative element of American culture at the turn into the twentieth century.

When movies replaced theater in the early twentieth century, live drama was wide open to reform. A rebellion against commercialism, called the Little Theatre movement, promoted the notion that theatre is a valuable form of self-expression. Composing Ourselves argues that the movement was a national phenomenon that resulted in lasting ideas for serious theatre that are now ordinary parts of the American cultural landscape.

In this book, Elisabeth H. Kinsley weaves the stories of racially and ethnically distinct Shakespeare theatre scenes in late nineteenth- and early twentieth-century Manhattan into a single cultural history, revealing how these communities interacted with one another and how their work influenced ideas about race and belonging in the United States during a time of unprecedented immigration. As Progressive Era reformers touted the works of Shakespeare as an “antidote” to the linguistic and cultural mixing of American society, and some reformers attempted to use the Bard’s plays to “Americanize” immigrant groups on Manhattan’s Lower East Side, immigrants from across Europe appropriated Shakespeare for their own ends. Kinsley uses archival material such as reform-era handbooks, theatre posters, playbills, programs, sheet music, and reviews to demonstrate how, in addition to being a source of cultural capital, authority, and resistance for these communities, Shakespeare’s plays were also a site of cultural exchange. Performances of Shakespeare occasioned nuanced social encounters between New York’s empowered and marginalized groups and influenced sociocultural ideas about what Shakespeare, race, and national belonging should and could mean for Americans. Timely and immensely readable, this book explains how ideas about cultural belonging formed and transformed within a particular human community at a time of heightened demographic change. Kinsley’s work will be welcomed by anyone interested in the formation of national identity, immigrant communities, and the history of the theatre scene in New York and the rest of the United States.

Do you believe that joy is a choice? Dawn Barton does. She's an upbeat Southerner with good hair and a successful business background, but she's had more heartache than most of us can imagine. Laughing Through the Ugly Cry is a collection of honest and sometimes raw stories. Dawn throws an arm around readers as she brings them along on her journey through the loss of a child, divorce, cancer, rape, the death of her only sibling, her husband's substance abuse, and finding her way back to Jesus in the middle of it all. Dawn shares her personal story to show readers how to find happiness and purpose even in the darkest of days. By laughing through the ugly cry, you will discover how to: Shut down negative feelings causing you to feel inadequate Identify the pros despite how challenging the cons may seem Embrace joy wherever you can find it Learn how to be honest with yourself and process grief in a healthy way Dawn writes, "If more women were open about just how difficult our lives feel and how hard we are on ourselves, I think we'd learn to relax a little and give ourselves the grace God gives us every day." Laughing Through the Ugly Cry is great for: Women of any age seeking comfort, encouragement, and inspiration Book clubs and girls' nights--Dawn poses thoughtful group questions to support meaningful conversations about growth and joy

Yiddish melodramas about the tribulations of immigration. German plays about alpine tourism. Italian vaudeville performances. Rubbernecking tours of Chinatown. In the New York City of the late nineteenth and early twentieth centuries, these seemingly disparate leisure activities played similar roles: mediating the vast cultural, demographic, and social changes that were sweeping the nation's largest city. In The Immigrant Scene, Sabine Haenni reveals how theaters in New York created ethnic entertainment that shaped the culture of the United States in the early twentieth century. Considering the relationship between leisure and mass culture, The Immigrant Scene develops a new picture of the metropolis in which the movement of people, objects, and images on-screen and in the street helped residents negotiate the complexities of modern times. In analyzing how communities engaged with immigrant theaters and the nascent film culture in New York City, Haenni traces the ways in which performance and cinema provided virtual mobility--ways of navigating the socially complex metropolis--and influenced national ideas of immigration, culture, and diversity in surprising and lasting ways.

A tragicomic story of bad dates, bad news, bad performances, and one girl's determination to find the funny in high school from the author of Denton Little's Deathdate. Winnie Friedman has been waiting for the world to catch on to what she already knows: she's hilarious. It might be a long wait, though. After bombing a stand-up set at her own bat mitzvah, Winnie has kept her jokes to herself. Well, to herself and her dad, a former comedian and her inspiration. Then, on the second day of tenth grade, the funniest guy in school actually laughs at a comment she makes in the lunch line and asks her to join the improv troupe. Maybe he's even . . . flirting? Just when Winnie's ready to say yes to comedy again, her father reveals that he's been diagnosed with ALS. That is . . . not funny. Her dad's still making jokes, though, which feels like a good thing. And Winnie's prepared to be his straight man if that's what he wants. But is it what he needs? Caught up in a spiral of epically bad dates, bad news, and bad performances, Winnie's struggling to see the humor in it all. But finding a way to laugh is exactly what will see her through. **A Junior Library Guild Selection**