Incontinent Continent The Comic is based on Chapter 101⁄2 of the book The Incontinent Continent.

To smooth over five decades of constant clashing, determined daughter Jane Christmas decides to take her arthritic, incontinent, and domineering mother, Valeria, to Italy. Will being at the epicenter of the Renaissance spark a renaissance in their relationship? As they drag each other from the Amalfi Coast to Tuscany — walkers, shawls, and a mobile pharmacy of medications in tow — they find new ways to bitch and bicker, in the process reassessing who they are and how they might reconcile. Unflinching and often hilarious, this book speaks to all women who have faced that special challenge of making friends with Mom.

Made-in-Canada-Humour is an interdisciplinary survey and analysis of Canadian humour and humorists in the nineteenth and twentieth centuries. The book focuses on a variety of genres. It includes celebrated Canadian writers and poets with ironic and satiric perspectives; oral storytellers of tall tales in the country and the city; newspaper print humorists; representative national and regional cartoonists; and comedians of stage, radio and television. The humour gives voice to Canadian values and experiences, and consequently, techniques and styles of humour particular to the country. While a persistent comic theme has been joking at the expense of the United States, both countries have influenced one another’s humour. Canada’s unique humorous tradition also reflects its emergence from a colonial country to a postcolonial and postmodern nation with contemporary humour that addresses gender and racial issues.

239 poems about what the Americans call soccer, most of them darkly funny, some of them wistful and nostalgic, a few angry.This is the cumulation of Peter Goulding's 15 years writing football poetry.

Can comedy on television harbour elements of gender transgression or subversion? If a man is permitted to be 'funny peculiar' – playing the underdog or misfit – does a woman seem stranger in his place? Mapping examples from British and American comedy television over the past 60 years, from I Love Lucy to The Big Bang Theory and Smack the Pony to Waiting For God, this book asks: are particular forms of television comedy gendered in specific ways? Paying attention to series which have not been addressed in academic work, as well as more established shows, White offers fresh insights for the fields of television studies, gender and women's studies, cultural history and comedy.