Laughing To Keep From Dying

By subverting comedy's rules and expectations, African American satire promotes social justice by connecting laughter with ethical beliefs in a revolutionary way. Danielle Fuentes Morgan ventures from Suzan-Lori Parks to Leslie Jones and Dave Chappelle to Get Out and Atlanta to examine the satirical treatment of race and racialization across today's African American culture. Morgan analyzes how African American artists highlight the ways that society racializes people and bolsters the powerful myth that we live in a "post-racial" nation. The latter in particular inspires artists to take aim at the idea racism no longer exists or the laughable notion of Americans "not seeing" racism or race. Their critique changes our understanding of the boundaries between staged performance and lived experience and create ways to better articulate Black selfhood. Adventurous and perceptive, Laughing to Keep from Dying reveals how African American satirists unmask the illusions and anxieties surrounding race in the twenty-first century.

By subverting comedy's rules and expectations, African American satire promotes social justice by connecting laughter with ethical beliefs in a revolutionary way. Danielle Fuentes Morgan ventures from Suzan-Lori Parks to Leslie Jones and Dave Chappelle to Get Out and Atlanta to examine the satirical treatment of race and racialization across today's African American culture. Morgan analyzes how African American artists highlight the ways that society racializes people and bolsters the powerful myth that we live in a "post-racial" nation. The latter in particular inspires artists to take aim at the idea racism no longer exists or the laughable notion of Americans "not seeing" racism or race. Their critique changes our understanding of the boundaries between staged performance and lived experience and create ways to better articulate Black selfhood. Adventurous and perceptive, Laughing to Keep from Dying reveals how African American satirists unmask the illusions and anxieties surrounding race in the twenty-first century.

An honest, irreverent, laugh-out-loud guide to coping with death and dying from Emmy-nominated writer and New York Times bestselling co-author of Sh*tty Mom Laurie Kilmartin. Death is not for the faint of heart, and sometimes the best way to cope is through humor. No one knows this better than comedian Laurie Kilmartin. She made headlines by live-tweeting her father’s time in hospice and her grieving process after he passed, and channeled her experience into a comedy special, 45 Jokes About My Dead Dad. Dead People Suck is her hilarious guide to surviving (sometimes) death, dying, and grief without losing your mind. If you are old and about to die, sick and about to die, or with a loved one who is about to pass away or who has passed away, there’s something for you. With chapters like “Are You An Old Man With Daughters? Please Shred Your Porn,” “If Cancer was an STD, It Would Be Cured By Now,” and “Unsubscribing Your Dead Parent from Tea Party Emails,” Laurie Kilmartin guides you through some of life’s most complicated moments with equal parts heart and sarcasm.

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.

Featuring poignant wisdom from children, parents, doctors, and nurses, "The Courage to Laugh" offers a lifesaving tool for those experiencing a serious illness and for the people who care for them.

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.

Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.

Mystery shopper Josie Marcus's report about Danessa Celedine's exclusive store is less than stellar, and it may cost the fashion diva fifty million dollars. But Danessa's financial future becomes moot when she's found murdered, strangled with one of her own thousand-dollar snakeskin belts-and Josie is accused of the crime.

Girlfriends are the best medicine. Franny, Jude, and Anna go on their annual lake camp-out in Northern California to eat and drink, skinny dip and whoop into the night when the subject turns to death. What do you want to do before you die? What will you wear to your funeral? Who will do your makeup? It gets darker back home as Jude fears she's developing her mother's dementia and starts to stash pills, research suicide and withdraw from her friends. Before the next camping trip each woman's life is turned upside down, along with her faith in the future and her friends in a year of suspicions, infidelity, the latest in California dying styles, the politics of assisted suicide along with debates on why breasts are not boobs and what wine to have with your last meal. Because, what better way to deal with the absurdity and certainty of mortality than to cry and laugh with your best friends?

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