Featuring our greatest comedic minds on the nature of humor, its relevance in society—and why sometimes you just need a good dirty joke to cleanse the palate—Satiristas is a hilarious multi-voiced manifesto on satire and comedy presented by Paul Provenza, co-creator of The Aristocrats.

In this first comprehensive reading of Juvenal’s satires in more than fifty years, David H. J. Larmour deftly revises and sharpens our understanding of the second-century Roman writer who stands as the archetype for all later practitioners of the satirist’s art. The enduring attraction of Juvenal’s satires is twofold: they not only introduce the character of the “angry satirist” but also offer vivid descriptions of everyday life in Rome at the height of the Empire. In Larmour’s interpretation, these two elements are inextricably linked. The Arena of Satire presents the satirist as flaneur traversing the streets of Rome in search of its authentic core—those distinctly Roman virtues that have disappeared amid the corruption of the age. What the vengeful, punishing satirist does to his victims, as Larmour shows, echoes what the Roman state did to outcasts and criminals in the arena of the Colosseum. The fact that the arena was the most prominent building in the city and is mentioned frequently by Juvenal makes it an ideal lens through which to examine the spectacular and punishing characteristics of Roman satire. And the fact that Juvenal undertakes his search for the uncorrupted, authentic Rome within the very buildings and landmarks that make up the actual, corrupt Rome of his day gives his sixteen satires their uniquely paradoxical and contradictory nature. Larmour’s exploration of “the arena of satire” guides us through Juvenal’s search for the true Rome, winding from one poem to the next. He combines close readings of passages from individual satires with discussions of Juvenal’s representation of Roman space and topography, the nature of the “arena” experience, and the network of connections among the satirist, the gladiator, and the editor—or producer—of Colosseum entertainments. The Arena of Satire also offers a new definition of “Juvenalian satire” as a particular form arising from the intersection of the body and the urban landscape—a form whose defining features survive in the works of several later satirists, from Jonathan Swift and Evelyn Waugh to contemporary writers such as Russian novelist Victor Pelevin and Irish dramatist Martin McDonagh.

Satire has been with us since at least the Greeks and is a staple of the literary classroom. Dustin Griffin now moves away from the prevailing moral-didactic approach established thirty years ago to a more open view and reintegrates the Menippean tradition with the tradition of formal verse satire. Exploring texts from Aristophanes to the moderns, with special emphasis on the eighteenth century, Griffin uses a dozen major figures - Horace, Juvenal, Persius, Lucian, More, Rabelais, Donne, Dryden, Pope, Swift, Blake, and Byron - as primary examples. Because satire often operates as a mode or procedure rather than as a genre, Griffin offers not a comprehensive theory but a set of critical perspectives. Some of his topics are traditional in satire criticism: the role of the satirist as moralist; the nature of satiric rhetoric; and the impact of satire on the political order. Others are new: the problems of satire and closure; the pleasure it affords readers and writers; and the socioeconomic status of the satirist. Griffin concludes that satire is problematic, open-ended, essayistic, and ambiguous in its relationship to history, uncertain in its political effect, resistant to formal closure, more inclined to ask questions than to provide answers, and ambivalent about the pleasures it offers. Here is the ideal introduction to satire for the student and, for the experienced scholar, an occasion to reconsider the uses, problems, and pleasures of satire in light of contemporary theory.

A book that will make you see yourself clearly for the first time. When Becky Randle's mother dies, she's whisked from her trailer park home to New York. There she meets Tom Kelly, the world's top designer, who presents Becky with an impossible offer: He'll design three dresses to transform the very average Becky into the most beautiful woman who ever lived.Soon Becky is remade as Rebecca -- pure five-alarm hotness to the outside world and an awkward mess of cankles and split ends when she's alone. With Rebecca's remarkable beauty as her passport, soon Becky's life resembles a fairy tale. She stars in a movie, VOGUE calls, and she starts to date Prince Gregory, heir to the English throne. That's when everything crumbles. Because Rebecca aside, Becky loves him. But the idea of a prince looking past Rebecca's blinding beauty to see the real girl inside? There's not enough magic in the world.Defiant, naughty, and impossibly fun, GORGEOUS answers a question that bewilders us all: Just who the hell IS that in the mirror?

Political humor and satire are, perhaps, as old as comedy itself, and they are crucial to our society and our collective sense of self. Satire is confrontational. It’s about pushback, dissent, discord, disappointment, and demonstrating the absurdity of the status quo. This book is an attempt to explore how these aspects of satire help secure our sanity. Aristotle famously said that humans are naturally political animals. We need political community to flourish and live good lives. But politics also entails unpopular decisions, oppression, and power struggles. Satire is a vehicle through which we reflect on and challenge the irrational, incomprehensible, and intolerable nature of our lives without becoming totally despondent or depressed. In a poignant, pithy, but not ponderous manner, Al Gini and Abraham Singer delve into the history of satire to rejoice in its triumphs and watch its development from ancient graffiti to the latest late-night TV talk show.

Provides a comprehensive overview for both beginning and advanced students of satiric forms from ancient poetry to contemporary digital media.

Is “The Origin of Feces” a Darwinian concern? Perhaps not, but it is the title to the preface of this tongue-in-cheek and unexpectedly revealing exploration of human behavior by the webmaster behind the popular PoopReport.com. This book is not a history of poop, but a study of today. Its goal is to understand how poop affects us, how we view it, and why; to appreciate its impact from the moment it slides out of our anal sphincters to the moment it enters the sewage treatment plant; to explore how we’ve arrived at this strange discomfort and confusion about a natural product of our bodies; to see how this contradiction—the natural as unnatural—shapes our minds, relationships, environment, culture, economics, media, and art. Paul Provenza, the director of The Aristocrats, says in his foreword: “It’s shocking to think that a book about poop can be considered an act of courage. But it is. Most of us have knee-jerk responses to the topic that we are not even aware of. Attitudes that, like the awful stench of poop itself, permeate all of society and culture. This book has some very profound and beautiful things to say. It takes a dirty, smelly, unpleasant subject like shit and brings forth ideas that are empowering, dignifying and life affirming.”