Political humor has been a staple of late-night television for decades. The Trump White House, however, has received significantly greater attention than that of past presidents, such as Barack Obama, George W. Bush, and even Bill Clinton. In response to Trump’s strident politics, late-night comics, including Stephen Colbert, Jimmy Kimmel, Trevor Noah and Jimmy Fallon, have sounded key policy notes, further blurring the boundary between news and satire. Weekly humorists, including John Oliver and Samantha Bee, extend the critique with in-depth probing of key issues, while Saturday Night Live continues to tap the progression from outrage to outrageousness. Using unique content analysis techniques and qualitative discussions of political humor, Farnsworth and Lichter show how late-night political humor, and these seven programs in particular, have responded to the Trump presidency. Employing a dataset of more than 100,000 late night jokes going back decades, these noted media scholars discuss how the treatment of Trump differs from previous presidents, and how the Trump era is likely to shape the future of political humor. The authors also employ public opinion survey data to consider the growing role these late-night programs play in framing public opinion and priorities. This book will interest scholars, the curious public, and students of politics, communications and the media, and contemporary American culture.

In the first half of the twentieth century, a pioneering generation of young women exited their homes and entered public space, marking a new era for women's civic participation in northern Sudan. A provocative new public presence, women's civic engagement was at its core a bodily experience. Amid the socio-political upheavals of imperial rule, female students, medical workers, and activists used a careful choreography of body movements and fashion to adapt to imperial mores, claim opportunities for political agency, and shape a new standard of modern, mobile womanhood. Khartoum at Night is the first English-language history of these women's lives, examining how their experiences of the British Empire from 1900–1956 were expressed on and through their bodies. Central to this story is the tobe: a popular, modest form of dress that wrapped around a woman's head and body. Marie Grace Brown shows how northern Sudanese women manipulated the tucks, folds, and social messages of the tobe to deftly negotiate the competing pulls of modernization and cultural authenticity that defined much of the imperial experience. Her analysis weaves together the threads of women's education and activism, medical midwifery, urban life, consumption, and new behaviors of dress and beauty to reconstruct the worlds of politics and pleasure in which early-twentieth-century Sudanese women lived.

A significant number of Americans get some of their "news" about politics and national affairs from comedy shows. Is "infotainment" a debasement, or a replacement, for traditional news outlets?

"This book studies the interactions between presidential candidates and hosts on broadcast late-night talk shows in the United States. Using discourse analysis, the authors develop a comprehensive understanding of the entertainment-political interview as a cultural, interactional, and ideological genre"--

"There is no night in the ICU. There is day, lesser day, then day again. There are rhythms. Every twelve hours: shift change. Report: first all together in the big room, then at the bedside, nurse to nurse. Morning rounds. A group of doctors moves slowly through the unit like a harrow through a field. At each room, like a game, a different one rotates into the center. They leave behind a trail of new orders. Wean, extubate, titrate, start this, stop that, scan, film, scope. The steep hill the patient is asked to climb. Can you breathe on your own? Can you wake up? Can you live?"—Where Night Is Day Where Night Is Day is a nonfiction narrative grounded in the day-by-day, hour-by-hour rhythms of an ICU in a teaching hospital in the heart of New Mexico. It takes place over a thirteen-week period, the time of the average rotation of residents through the ICU. It begins in September and ends at Christmas. It is the story of patients and families, suddenly faced with critical illness, who find themselves in the ICU. It describes how they navigate through it and find their way. James Kelly is a sensitive witness to the quiet courage and resourcefulness of ordinary people. Kelly leads the reader into a parallel world: the world of illness. This world, invisible but not hidden, not articulated by but known by the ill, does not readily offer itself to our understanding. In this context, Kelly reflects on the nature of medicine and nursing, on how doctors and nurses see themselves and how they see each other. Drawing on the words of medical historians, doctor-writers, and nursing scholars, Kelly examines the relationship of professional and lay observers to the meaning of illness, empathy, caring, and the silence of suffering. Kelly offers up an intimate portrait of the ICU and its inhabitants.

WINNER OF THE 2021 PULITZER PRIZE FOR FICTION NEW YORK TIMES BESTSELLER WASHINGTON POST, AMAZON, NPR, CBS SUNDAY MORNING, KIRKUS, CHICAGO PUBLIC LIBRARY, AND GOOD HOUSEKEEPING BEST BOOK OF 2020 Based on the extraordinary life of National Book Award-winning author Louise Erdrich’s grandfather who worked as a night watchman and carried the fight against Native dispossession from rural North Dakota all the way to Washington, D.C., this powerful novel explores themes of love and death with lightness and gravity and unfolds with the elegant prose, sly humor, and depth of feeling of a master craftsman. Thomas Wazhashk is the night watchman at the jewel bearing plant, the first factory located near the Turtle Mountain Reservation in rural North Dakota. He is also a Chippewa Council member who is trying to understand the consequences of a new “emancipation” bill on its way to the floor of the United States Congress. It is 1953 and he and the other council members know the bill isn’t about freedom; Congress is fed up with Indians. The bill is a “termination” that threatens the rights of Native Americans to their land and their very identity. How can the government abandon treaties made in good faith with Native Americans “for as long as the grasses shall grow, and the rivers run”? Since graduating high school, Pixie Paranteau has insisted that everyone call her Patrice. Unlike most of the girls on the reservation, Patrice, the class valedictorian, has no desire to wear herself down with a husband and kids. She makes jewel bearings at the plant, a job that barely pays her enough to support her mother and brother. Patrice’s shameful alcoholic father returns home sporadically to terrorize his wife and children and bully her for money. But Patrice needs every penny to follow her beloved older sister, Vera, who moved to the big city of Minneapolis. Vera may have disappeared; she hasn’t been in touch in months, and is rumored to have had a baby. Determined to find Vera and her child, Patrice makes a fateful trip to Minnesota that introduces her to unexpected forms of exploitation and violence, and endangers her life. Thomas and Patrice live in this impoverished reservation community along with young Chippewa boxer Wood Mountain and his mother Juggie Blue, her niece and Patrice’s best friend Valentine, and Stack Barnes, the white high school math teacher and boxing coach who is hopelessly in love with Patrice. In the Night Watchman, Louise Erdrich creates a fictional world populated with memorable characters who are forced to grapple with the worst and best impulses of human nature. Illuminating the loves and lives, the desires and ambitions of these characters with compassion, wit, and intelligence, The Night Watchman is a majestic work of fiction from this revered cultural treasure.

The debut of Saturday Night Live and the 1976 presidential election between Gerald Ford and Jimmy Carter had enduring effects on American culture. With its mix of sketch comedy and music, SNL grabbed huge ratings and several Emmys in its first season. President Ford's press secretary, Ron Nessen, was the first politician to host SNL. Ford also appeared on the show, via video tape, to offer a comic counterpunch to Chevy Chase's signature line, "I'm Chevy Chase and you're not." Since then, it has become a rite of passage for national politicians to appear on SNL, and the show's treatment of them and their platforms has a continuing impact on political discourse.