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.

The most action-packed banana-peel gag ever! What happens when mischievous Hyena puts a banana peel on unsuspecting Giraffe's path? A lot of hilarious chaos, it turns out. Kids will laugh and laugh at the crazy chain of events Hyena's practical joke sets in motion. In the end though, the joke's on Hyena, and readers will learn the smelly consequences of laughing too much at others' misfortunes.

"Smart, knowing, and deeply reported, the definitive history of one of modern American humor’s wellsprings." —Kurt Andersen, author of Fantasyland, host of NPR’s Studio 360 Labor Day, 1969. Two recent college graduates move to New York to edit a new magazine called The National Lampoon. Over the next decade, Henry Beard and Doug Kenney, along with a loose amalgamation of fellow satirists including Michael O’Donoghue and P. J. O’Rourke, popularized a smart, caustic, ironic brand of humor that has become the dominant voice of American comedy. Ranging from sophisticated political satire to broad raunchy jokes, the National Lampoon introduced iconoclasm to the mainstream, selling millions of copies to an audience both large and devoted. Its excursions into live shows, records, and radio helped shape the anarchic earthiness of John Belushi, the suave slapstick of Chevy Chase, and the deadpan wit of Bill Murray, and brought them together with other talents such as Harold Ramis, Christopher Guest, and Gilda Radner. A new generation of humorists emerged from the crucible of the Lampoon to help create Saturday Night Live and the influential film Animal House, among many other notable comedy landmarks. Journalist Ellin Stein, an observer of the scene since the early 1970s, draws on a wealth of revealing, firsthand interviews with the architects and impresarios of this comedy explosion to offer crucial insight into a cultural transformation that still echoes today. Brimming with insider stories and set against the roiling political and cultural landscape of the 1970s, That’s Not Funny, That’s Sick goes behind the jokes to witness the fights, the parties, the collaborations—and the competition—among this fraternity of the self-consciously disenchanted. Decades later, their brand of subversive humor that provokes, offends, and often illuminates is as relevant and necessary as ever.

When he and his grandfather go to town, Alfie finds humor in seeing unpleasant things happen to other people, but he feels differently when an elephant lands on him at the circus.

New York Times bestselling author of This Is a Book and Point Your Face at This, Demetri Martin returns with another laugh-out-loud collection of hilarious drawings. If It's Not Funny It's Art Packed with hundreds of new illustrations and one-liners, If It's Not Funny It's Art is a peek into the ingenious mind of author/comedian/filmmaker Demetri Martin. Exploring the meaning of art, life, death, ennui and the elegant fart joke with a sensibility all its own, this collection is a perfect gift for word lovers, art appreciators and fans of Demetri's unique brand of comedy. Sure to make you laugh out loud, and if it doesn't, then you know it's art.

Not Funny Ha-Ha is a bold, slightly wry graphic novel illustrating the lives of two young women from different cultural, family, and financial backgrounds who go through two different abortions (medical and surgical). It follows them through the process of choosing a clinic, reaching out to friends, partners, and/or family, and eventually the procedure(s) itself. It simply shows what happens when a woman goes through it, no questions asked. Despite the fact that so many women and girls have abortions every day, in every city, all around us, it can be a lonely experience. Not Funny Ha-Ha is a little bit technical, a little bit moving, and often funny, in a format uniquely suited to communicate. The book is meant to be a non-judgmental, comforting, even humorous look at what a woman can go through during an abortion. Although the subject matter is heavy, the illustrations are light. The author takes a step back from putting forth any personal opinion whatsoever, simply laying out the events and possible emotional repercussions that could, and often do occur.

Delve into the first-hand account of a life dedicated to making a difference through performing humanitarian work. At 7 years of age, after being emotionally moved by a documentary depicting the suffering of humans caused by humans in conflict, Gerard Robertson immediately knew that somehow he would be a part of easing the pain that he witnessed. The path that best suited his ideals was to volunteer with the Red Cross in his homeland of New Zealand in 1995. This eventually led to the opportunity to work for the International Committee of the Red Cross. Reluctant to call himself a hero, he has nonetheless put his own life on the line traveling to the most dangerous and terrible places on this planet in an effort to make a difference. Discover the potential risks from exposure to diseases and the perilous conditions that are commonplace, and yet are not enough to deter the most loyal workers. About the Author: Gerard Robertson was born and raised in a small town in New Zealand. He met his wife while they were both working in Liberia in 2004. After a one year sabbatical, the two are looking forward to a one year mission in Kyrgyzstan. He is the father of an eighteen year old daughter. Publisher's website: http: //www.strategicpublishinggroup.com/title/NotFunnyThenButFunnyNow.html