In this "laugh-out-loud funny” book (Hank Green, New York Times bestselling author), social media star and comedian Josh Sundquist takes readers on his hilarious journey to the fringes of viral stardom to discover if it’s possible to be both very famous and very happy As a semi-famous internet creator, Josh Sundquist knows what it's like to chase fame, but he also knows that more fame usually means more stress. So he set out on a pseudo-scientific investigation to find out if there is any way for fame and happiness to overlap. He attempts to define the word “fame”—hint: it's harder than you'd think. He turns back time to identify the first facially-recognizable celebrity (you might know his former BFF Brutus). He digs into the numbers to debunk urban legends associated with stardom (ever heard of the 27 Club?). He talks to other semi-famous people (from K-pop sensations to former child stars) and asks them: Is this fame thing making you happy? If not, why are you doing it? If so, what's your secret? All while recounting funny stories about his own cringy fame-seeking (like his many attempts, and failures, to get onto MTV). Packed with playful diagrams, fascinating insights from celebrities, and embarrassing truths from Josh’s experience with semi-fame, this is a must-read for anyone who has ever dreamed of becoming famous…or at least going viral on TikTok.

Russia's own Orient examines how intellectuals in early twentieth-century Russia offered a new and radical critique of the ways in which Oriental cultures were understood at the time. Out of the ferment of revolution and war, a group of scholars in St. Petersburg articulated fresh ideas about the relationship between power and knowledge, and about Europe and Asia as mere political and cultural constructs. Their ideas anticipated the work of Edward Said and post-colonial scholarship by half a century. The similarities between the two groups were, in fact, genealogical. Said was indebted, via Arab intellectuals of the 1960s who studied in the Soviet Union, to the revisionist ideas of Russian Orientologists of the fin de siècle. But why did this body of Russian scholarship of the early twentieth century turn out to be so innovative? Should we agree with a popular claim of the Russian elites about their country's particular affinity with the 'Orient'? There is no single answer to this question. The early twentieth century was a period when all over Europe a fascination with things 'Oriental' engendered the questioning of many nineteenth-century assumptions and prejudices. In that sense, the revisionism of Russian Orientologists was part of a pan-European trend. And yet, Tolz also argues that a set of political, social, and cultural factors, which were specific to Russia, allowed its imperial scholars to engage in an unusual dialogue with representatives of the empire's non-European minorities. It is together that they were able to articulate a powerful long-lasting critique of modern imperialism and colonialism, and to shape ethnic politics in Russia across the divide of the 1917 revolutions.

Literary and filmic depictions of the disabled reinforce an "ableist" ideology that classifies bodies as normal or abnormal--positive or negative. Disabled characters are often represented as aberrant or evil and are isolated or incarcerated. This book examines language in film, fiction and other media that perpetuates the representation of the disabled as abnormal or problematic. The author looks at depictions of disability--both disparaging and amusing--and discusses disability theory as a framework for reconsidering "normal" and "abnormal" bodies.

A 2022 Best Comedy Book, Vulture A rousing call for liberals and progressives to pay attention to the emergence of right-wing comedy and the political power of humor. "Why do conservatives hate comedy? Why is there no right-wing Jon Stewart?" These sorts of questions launch a million tweets, a thousand op-eds, and more than a few scholarly analyses. That's Not Funny argues that it is both an intellectual and politically strategic mistake to assume that comedy has a liberal bias. Matt Sienkiewicz and Nick Marx take readers––particularly self-described liberals––on a tour of contemporary conservative comedy and the "right-wing comedy complex." In That's Not Funny, "complex" takes on an important double meaning. On the one hand, liberals have developed a social-psychological complex—it feels difficult, even dangerous, to acknowledge that their political opposition can produce comedy. At the same time, the right has been slowly building up a comedy-industrial complex, utilizing the humorous, irony-laden media strategies of liberals such as Jon Stewart, Samantha Bee, and John Oliver to garner audiences and supporters. Right-wing comedy has been hiding in plain sight, finding its way into mainstream conservative media through figures ranging from Fox News's Greg Gutfeld to libertarian podcasters like Joe Rogan. That's Not Funny taps interviews with conservative comedians and observations of them in action to guide readers through media history, text, and technique. You will find many of these comedians utterly appalling, some surprisingly funny, and others just plain weird. They are all, however, culturally and politically relevant—the American right is attempting to seize spaces of comedy and irony previously held firmly by the left. You might not like this brand of humor, but you can't ignore it.

Mistakes Were Made is a revealing memoir and unexpected love story from model and actress Fiona Lewis about her journey to self-acceptance as she restores a crumbling French chateau. Alone in the French countryside, Lewis reflects on her glamorous youth across London and Paris in the ’60s, Hollywood in the ’70s, and the important, sometimes disastrous, choices she made along the way. Having lived a perfectly satisfactory life in California for over two decades, Fiona Lewis wakes up one day in her fifties and asks herself, Is this it? Is this the existence I’m meant to have? She can hardly complain. After all, her life has been full of adventure and privilege: London and Paris in the ’60s, Los Angeles in the heady ’70s. Now, however, she feels lost, as if she were slipping backward over the edge of a ravine, abandoned not only by her old self, but by that reliable standby, optimism. Realizing she has to find a way to reinvent herself, she impulsively buys a rundown chateau in the South of France. (Her husband is not pleased.) Alone in the depths of the countryside, she contemplates her childhood, her affairs––Roman Polanski, Roger Vadim––her years as an actress in some good and some questionable films, and her first Hollywood marriage to the damaged son of a movie star. As the renovation drags on, fighting with a band of impossible French workmen, she is forced to battle her own fears: her failure to become a real success, her inability to have children, and her persistent fear of aging. And she has to contend with her husband, who has no interest in the French countryside. In fact, he resents her obsession with France, with the house, with the renovations. The house seems to have a hold over her, and he’s not wrong. He reluctantly visits and is annoyed by the cost of the renovation. Was she not content with him in LA? Why can’t she just be happy? It’s an age-old question and one every woman must confront, along with aging, lost love, and missed opportunities. Yet, Fiona’s wit and wisdom prevail. And this provocative, brave memoir takes a stunning turn when all those unanswered questions develop into a tender and unexpected romance.

A provocative, exuberant novel about time, memory, desire, and the imagination from the internationally bestselling and prizewinning author of The Blazing World. A young woman, S.H., moves to New York City in 1978 to look for adventure and write her first novel, but finds herself distracted by her mysterious neighbor, Lucy Brite. As S.H. listens to Lucy through the thin walls of her dilapidated building, she carefully transcribes the woman’s bizarre monologues about her daughter’s violent death and her need to punish the killer. Forty years later, S.H. stumbles upon the journal she kept that year and writes a memoir, Memories of the Future, in which she juxtaposes the notebook’s texts, drafts from her unfinished comic novel, and her commentaries on them to create a dialogue among selves over the decades. She remembers. She misremembers. She forgets. Events of the past take on new meanings. She works to reframe her traumatic memory of a sexual assault. She celebrates the legacy of the wild and rebellious Dada artist-poet, the Baroness Elsa von Freytag-Loringhoven. As the book unfolds, you witness S.H. write her way through vengeance and into freedom. Smart, funny, angry, and poignant, Hustvedt’s seventh novel brings together the themes that have made her one of the most celebrated novelists working today: the strangeness of time, the brutality of patriarchy, and the power of the imagination to remake the past.