It has been a difficult, sometimes painful, story to tell in its entirety, but I have done my best to be accurate both in facts and in dates, for I feel that l owe the truth to the many who have become valued acquaintances, and sometimes friends. All these have constantly requested more news of my "Green Dwelling" and my discovery of a fatal neurological disease previously unknown to Western medicine. This book is for them, in lieu of letters that I ought to have written and did not. It is also my concern to produce innocent amusement, unrestricted by canon or precedent, for those who require some relaxation from the fatigue generated by so many parasitic forms of life in this less than perfect world. My peers, the medical scientists, who read this will realize that this book is neither a scientific treatise, nor a balance-sheet of all the achievements and failures of medical science, but a presentation of the major implications of the factors that continually determine our medical ethics - including some of the less prizeworthy drawbacks.

Laughing Shall I Die explores the Viking fascination with scenes of heroic death. The literature of the Vikings is dominated by famous last stands, famous last words, death songs, and defiant gestures, all presented with grim humor. Much of this mindset is markedly alien to modern sentiment, and academics have accordingly shunned it. And yet, it is this same worldview that has always powered the popular public image of the Vikings—with their berserkers, valkyries, and cults of Valhalla and Ragnarok—and has also been surprisingly corroborated by archaeological discoveries such as the Ridgeway massacre site in Dorset. Was it this mindset that powered the sudden eruption of the Vikings onto the European scene? Was it a belief in heroic death that made them so lastingly successful against so many bellicose opponents? Weighing the evidence of sagas and poems against the accounts of the Vikings’ victims, Tom Shippey considers these questions as he plumbs the complexities of Viking psychology. Along the way, he recounts many of the great bravura scenes of Old Norse literature, including the Fall of the House of the Skjoldungs, the clash between the two great longships Ironbeard and Long Serpent, and the death of Thormod the skald. One of the most exciting books on Vikings for a generation, Laughing Shall I Die presents Vikings for what they were: not peaceful explorers and traders, but warriors, marauders, and storytellers.

This is a very funny book, even though it also includes some serious consumer information. Lisa Carlson has collected cartoons, jokes, funny quotations, humorous last words, and a wide range of other old and new material. As the advice columnist Dear Abby remarked, This book proves that dying can be a laughing matter. At the end of each section, Carlson has a page or two of information and advice for those who may someday have the job of arranging a funeral for a friend or relative, or who may be contemplating the arrangements they prefer when they die.Half the profits from sale of the book will be contributed to the work of the national nonprofit consumer organization, Funeral Consumers Alliance. Several well-known cartoonists and illustrators made their work available in support of this cause: these include P.S. Mueller, Rina Picccolo, and the estate of Edward Gorey.With this short book, you can have a good laugh, learn something in process, and support good cause at the same time.

There’s nothing funny about dying … or is there? Malachy McCourt, Jacquelyn Mitchard, and 22 more share hilarious and moving stories of confronting death. Exit Laughing makes death more approachable as it reveals the funny side of “passing on.” As painful as it is to lose a loved one, Exit Laughing shows us that in times of grief, humor can help us with coping and even healing. Best-selling author Amy Ferris explains how her mother’s dementia led to a permanent ban from an airline. Ellen Sussman writes of flying her mother's body home and watching the burial wardrobe spill out on the baggage carousel. Broadway and television actor Richard McKenzie shares the riotous story of a funeral procession led by a lost hearse. Bonnie Garvin even manages to find a heavy dose of dark humor in her parents’ three unsuccessful attempts at a double suicide. These stories, along with tales from Joshua Braff, Barbara Graham, Dianne Rinehart, and more, constitute a book whose purpose is to remind readers that when dealing with illness, aging, and dying, there is an important place for laugh-out-loud humor.

As far as film genres go, two of the most popular and distinct are horror and comedy. So, what happens when you mix them together? You get everything from the social satire of John Carpenter's They Live to the madness of the Evil Dead series, to early works from future auteur Peter Jackson, to Jordan Peele's acclaimed Get Out. Prepare yourself for an illustrated history of movies (and a few TV shows) that have mixed chills with chuckles, from Abbott & Costello Meet Frankenstein to Stranger Things. We'll take a look at plenty of fan favorites and cult classics, and even examine the influence of humor on the time-honored slasher genre.

Examines the effects of television culture on how we conduct our public affairs and how "entertainment values" corrupt the way we think.

Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers. In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland. Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.