If you want to build a stand-up comedy career, this book is a must read. If you want to write comedy, this book is a must-read. If you simply enjoy comedy ... this book is a must read. Part One offers essential advice about understanding the fundamentals of stand-up, studying other comedians, finding your own style, writing your material, working the live performance, and appearing on television. Fascinating, candid, insightful interviews with today's top comedians, who discuss at length why and how they do what they do, comprise Part Two, the bulk of the book. The third and last part of the book addresses your stand-up career through interviews with noted comedy club owners, an agent, a personal manager, and a television talent co-ordinator. Literally crammed with the wisdom of today's finest stand-up comics, in terms of quality, quantity, and timeliness information, this book is without peer.

The popular American comic book is considered in this volume of Critical Insights. From their creation in the 1930s to the widespread popularity of comic book heroes today, this literary form continues to delight and entertain readers. This volume offers a collection of original essays that will establish for students and their teachers an exemplary representation of American comics as a field of study within American literature.

The Comic Event approaches comedy as dynamic phenomenon that involves the gathering of elements of performance, signifiers, timings, tones, gestures, previous comic bits, and other self-conscious structures into an “event” that triggers, by virtue of a “cut,” an expected/unexpected resolution. Using examples from mainstream comedy, The Comic Event progresses from the smallest comic moment-jokes, bits-to the more complex-caricatures, sketches, sit-coms, parody films, and stand-up routines. Judith Roof builds on side comments from Henri Bergson's short treatise “Laughter,” Sigmund Freud's Jokes and Their Relation to the Unconscious, and various observations from Aristotle to establish comedy as a complex, multifaceted practice. In seeing comedy as a gathering event that resolves with a “cut,” Roof characterizes comedy not only by a predictable unpredictability occasioned by a sudden expected/unexpected insight, but also by repetition, seriality, self-consciousness, self-referentiality, and an ourobouric return to a previous cut. This theory of comedy offers a way to understand the operation of a broad array of distinct comic occasions and aspects of performance in multiple contexts.

Comedians tend to view the world somewhat askew or askance, and that view--a kind of hermeneutical lens for discerning the comedic in daily life--serves to frame, reframe, and even de-frame reality. Preachers do the same, viewing the world askance through a theological lens of discerning God in daily life. That theological view allows one to preach hope in the face of despair, seeing the world in terms of God's justice and declaring the promise of life out of death. Divine Laughter: Preaching and the Serious Business of Humor looks closely at both the cultural phenomenon of stand-up comedy and theories of humor, asking what preachers can learn from both. Karl N. Jacobson and Rolf A. Jacobson offer preachers a means of growth in their art and an approach to reading Scripture both for its humor and through the lens of humor. The book models approaches to the biblical text that allow the Bible to be funny and that bring humor to the text. Divine Laughter brings the task of preaching into conversation with both the comedic parts of the Bible and the theological parts of the comedic, in order to bring a new kind of life to preaching. As a serious look at humor and laughter in the Bible, the book explores the theological implications of what it means if we think of God, Jesus, and even the Holy Spirit as filled with laughter. Preachers are invited to wonder at and chuckle their way through examples of God's laughter in the Bible, thinking about what that means for God's people, for the life of faith, and for preaching to God's people.

What if you asked 125 top writers to pick their favorite books? Which titles would come out on top? You'll find the answer in The Top Ten: Writers Pick Their Favorite Books: the ultimate guide to the world's greatest books. As writers such as Norman Mailer, Annie Proulx, Stephen King, Jonathan Franzen, Claire Messud, Margaret Drabble, Michael Chabon and Peter Carey name the ten books that have meant the most to them, you'll be reminded of books you have always loved and introduced to works awaiting your discovery. The Top Ten includes summaries of 544 books—each of which is considered to be among the ten greatest books ever written by at least one leading writer. In addition to each writer's Top Ten List, the book features Top Ten Lists tabulated from their picks, including: • The Top Ten Books of All Time • The Top Ten Books by Living Writers • The Top Ten Books of the Twentieth Century • The Top Ten Mysteries • The Top Ten Comedies The Top Ten will help readers answer the most pressing question of all: What should I read next?

'This is the kind of book that troubles grey-suited committees of academic peers. It's too enjoyable. But that, given its subject, is just what it ought to be, and it treats that subject seriously . . . There isn't a “dull” page anywhere in the book.' – Professor Peter Thomson, Studies in Theatre and Performance Comedy is changing: stand-up comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of stand-up in the internet age. Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo stand-up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo. With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring comedian, this new edition of Getting the Joke is the only book to combine the history of stand-up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working comedians – from circuit veterans to new kids on the block – combined with the author's vast experience, this is a must read for any aspiring stand-up comedian.

This lighthearted and eye-opening book explores the role of comedy in cultural and political critiques of American society from the past century. This unprecedented look at the history of satire in America showcases the means by which our society is informed by humor—from the way we examine the news, to how we communicate with each other, to what we seek out for entertainment. From biographical information to critical reception of material and personalities, the book features humorists from both literary and popular culture settings spanning the past 100 years. Through its 180 entries, this comprehensive volume covers a range of artists—individuals such as Joan Rivers, Hunter S. Thompson, and Chris Rock—and topics, including vaudeville, cartoons, and live performances. The content is organized by media and genre to showcase connections between writers and performers. Chapters include an alphabetical listing of humorists grouped by television and film stars, stand-up and performance comics, literary humorists, and humorists in popular print.