Despite the claim of many a Borscht Belt comic that he is a practitioner of "the world's second-oldest professsion," stand-up comedy is a young and distinctly American literary form. It was not until the last decades of the nineteenth century when, enabled by unprecedented prosperity and the right to free expression, that monologists began appearing in American vaudeville halls. Yet even though it has since become an entertainment industry mainstay, stand-up comedy has received precious little scholarly attention. The Legacy of the Wisecrack: Stand-up Comedy as the Great American Literary Form looks at the theory of stand-up comedy, its literary dimensions, and its distinctly American qualities as it provides a detailed history of the forces that shaped it. The study concludes with a look at the works of specific comedians such as Steven Wright, whose three decades of performances comprise a single picaresque tale, and Richard Pryor, whose 1982 masterpiece Richard Pryor Live on the Sunset Strip serves as modern America's answer to Dante Aligheri's epic poem, Inferno. The result is one of the first serious treatments of stand-up comedy as a literary form.

This book brings together twelve authors who look at the concept of the ""word"" from several different perspectives, inspiring in the reader a sense of wonder - to think of the lowly word, which we toss away in yesterday's newspaper, which we ignore on street signs, which we utter without giving a thought to the consequences of the power carried by the word. Moving from a psycholinguist explanation of the acquisition of language, the volume presents the function of the word in ""bad"" jokes, in ...

A celebration of the nineteenth-century saloon, written with sly humor during Prohibition: “A gem for gentlemen and gentlewomen who enjoy a tipple.”—Toronto Star Described by Luc Sante as “a distant ancestor of Rocky and Bullwinkle,” George Ade was an early twentieth-century humorist beloved by many, even earning praise from H.L. Mencken. During the waning years of Prohibition, he wrote The Old-Time Saloon—both a work of propaganda masquerading as “just history” and a hilarious exercise in nostalgia that let booze-deprived readers of the day know just what they were missing. Featuring original, vintage illustrations along with a new introduction and notes from Bill Savage, Ade’s book takes us back to the long-gone men’s clubs of earlier days, when beer was a nickel, the pretzels were polished, and the sardines were free. “Ade amuses with his dry humor on a wet topic…The book discusses every phase of the saloon and every type of saloon, from the ornate and opulent place, like the Waldorf or the Knickerbocker, to the dive on the corner and the old-fashioned roadhouse.”—Brooklyn Daily Eagle “Much about nineteenth-century saloons may have been sordid and squalid, but Ade knew how to find their charm, even their joy. He’s a wonderful reading companion—and I bet he would have been pretty great to drink with, too.”—Daniel Okrent, author of Last Call

Provides a rare glimpse into the life of an outrageously human, fearlessly black, openly angry and profanely outspoken comedic genius whose humble beginnings as the child of a prostitute helped shaped him into one of the most influential and outstanding performers of our time.

“A sensitive and vivid study of early female stand-ups… [Levy is a] painstaking, knowledgeable guide.” —New York Times Book Review A hilarious and moving account of the trailblazing women of stand-up comedy who broke down walls so they could stand before the mic—perfect for fans of The Marvelous Mrs. Maisel and Hacks Today, women are ascendant in stand-up comedy, even preeminent. They make headlines, fill arenas, spawn blockbuster movies. But before Amy Schumer slayed, Tiffany Haddish killed, and Ali Wong drew roars, the very idea of a female comedian seemed, to most of America, like a punch line. And it took a special sort of woman—indeed, a parade of them—to break and remake the mold. In on the Joke is the story of a group of unforgettable women who knocked down the doors of stand-up comedy so other women could get a shot. It spans decades, from Moms Mabley’s rise in Black vaudeville between the world wars, to the roadhouse ribaldry of Belle Barth and Rusty Warren in the 1950s and '60s, to Elaine May's co-invention of improv comedy, to Joan Rivers's and Phyllis Diller’s ferocious ascent to mainstream stardom. These women refused to be defined by type and tradition, facing down indifference, puzzlement, nay-saying, and unvarnished hostility. They were discouraged by agents, managers, audiences, critics, fellow performers—even their families. And yet they persevered against the tired notion that women couldn’t be funny, making space not only for themselves, but for the women who followed them. Meticulously researched and irresistibly drawn, Shawn Levy's group portrait forms a new pantheon of comedy excellence. In on the Joke shows how women broke into the boys’ club, offered new ideas of womanhood, and had some laughs along the way.

"Piecing together the forgotten story of Jean Carroll, the first Jewish female stand-up comedian, this book reveals the history of women in comedy, American Jews, and how stand-up found its feet"--