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An Interview with Judith Yaross Lee. With an excerpt from “Twain’s Brand.”

Tracy Wuster

We are very excited to present this interview with Judith Yaross Lee.  Judith is Professor & Director of Honors Tutorial Studies in the School of Communication Studies at Ohio University.  She is the author of, among many works,Defining New Yorker Humor and Garrison Keillor: A Voice of America.

Judith is the new editor of Studies in American Humor.  Through the American Humor Studies Association, and on her own, Judith has mentored many humor studies scholars, including myself.  It is a pleasure to print this interview and an excerpt of her excellent and important new book: Twain’s Brand: Humor in Contemporary American Culture. (Find an Excerpt here).

Tracy Wuster: Tell me about your start in humor studies.  How and when did you begin pursuing it as a subject? who has influenced you as a scholar of humor?   

Judith Yaross Lee: I had the great good fortune to take a course on Mark Twain with Hamlin Hill in my first quarter of my M.A. program in English at the University of Chicago, where I was first introduced to the study of humor as an interdisciplinary historical and cultural study, largely through my ancillary reading in Henry Nash Smith, later augmented by the works of early American Studies luminaries such as Perry Miller and Leo Marx.

Then in my second year of doctoral study I had another course with Ham, a seminar in contemporary American humor in which I was one of just two students (I guess we were the only ones who trundled over to the department office to find out what the special topic was, because all our friends were jealous when they learned about it).  We were so intimidated by Ham’s expertise and so worried about holding up our end of the discussion–my classmate had taken the regular course in American humor from Judith Yaross Lee Twain's Brand Mark Twain Samuel ClemensWalter Blair, who was retired but had filled in during Ham’s sabbatical, but I had not–that we spent huge amounts of time preparing each class.  The result was that both of us had found dissertation topics by the end of the term.  My dissertation covered humor in six novels by Melville, Twain, Faulkner, Nathanael West, and Philip Roth under the pompous title “To Amuse and Appall: Black Humor in American Fiction.” I never published it or any piece of it, though I revisited two of the novels in Twain’s Brand, which now that I think of it has a similarly large scope, though this time around I felt more able to manage it.

So obviously the Chicago school of neo-Aristotelian formalism and the Blair-Hill school of humor and Mark Twain studies influenced me from the start, as did the humor theory of Constance Rourke, whose work I felt did not have the stature it deserved. But I was mortified when, soon after defending my dissertation in 1986, I read Emily Toth’s “A Laughter of Their Own:  Women’s Humor in the United States” (1984) and realized how little I knew about women humorists, so I began devouring the pioneering articles and books by Nancy Walker, whose scholarly rigor I appreciated as much as her insights, and by Regina Barreca, whose first book had such an exciting titleThey used to call me Snow White– but I drifted: Women’s strategic use of humor (1991)–that I ordered it something like a year before it came out.  About the same time I was also inspired and greatly helped by David Sloane, especially his bibliographic work; his American Humor Magazines and Comic Periodicals (1987) is a trove yet to be fully mined.

In the 1990s (like everyone else) I also began reading Bakhtin, whose focus on the “lower stratum” I found immediately satisfying and much more congenial than Freud’s joke theory.  However, I have also been strongly influenced by communication theory–most strongly by the medium theory of Walter Ong and the performance theories of Erving Goffman–and cultural theorizing by Edward Said and W. E. B. DuBois, among others. I like Johan Huizinga on play, which I think has strong overlaps with humor as a non-instrumental form of human expression.  I confess to love reading humor theory!

TW: Was there resistance from others in your field or department to the study of humor as a “non-serious” subject?

JYL: I felt a lot of encouragement from my professors at the University of Chicago.  Because Ham left before I was ready to write my dissertation, however, I worked with three other Americanists, William Veeder, as director, John Cawelti, as second reader, later replaced after he left by James E. Miller, Jr.  John was a pioneer of popular culture historiography and theory, so he had no qualms about my work on humor, but Bill, who worked mainly on 19th-century fiction, insisted that I prepare for a field exam in an unequivocally serious or heavy topic in order to demonstrate to a search committee that I was not an academic lightweight and that I could contribute to the core teaching mission of an English or American Studies department. (I was inclined toward the latter, but those jobs were very scarce.)  That was wise advice, as my decision to do a special field in theories of literary effect as particularly relevant to humor that landed me my current position in the Rhetoric and Public Culture program in the Scripps College of Communication at Ohio University.

Humor has not been an issue at either of the two schools where I’ve been on a tenure line.  My colleagues in the School of Communication Studies have promoted me through the ranks since I arrived as an advanced assistant professor in 1990.  Far from exhibiting prejudice against my topic, they think of my work as hard-core traditional humanities scholarship because of my archival and historical research methods. I am grateful for their collegiality and open-mindedness.

Before Ohio I had an assistant professorship teaching composition at LaGuardia Community College/CUNY, which was a wonderful place to learn the ropes of being a teacher and faculty member. And before that, while writing my dissertation, for many years I taught composition and occasionally media theory as an adjunct. I often marvel at my good fortune at escaping the adjunct ranks.

I should note for graduate students in English and American Studies that I have not held a position in one of those departments since 1990. But other American humor studies colleagues have, so perhaps they can speak more directly to issues of the job search. Most of them, like me, have their fingers in some more conventional or highly valued pies for their teaching and research portfolios–often particular authors or themes, or in my case, media history (including periodicals) and theory. Humor colleagues probably don’t know that I published a theory of email in 1996.

TW: What have been the most interesting developments in humor studies in your time in the field?

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Mark Twain and The Jumping Frog

Tracy Wuster

One of the key moments in the career of Mark Twain was the tremendous success of his story “The Celebrated Jumping Frog of Calaveras County,” first published in the Saturday Post on August 12, 1865.  The reputation of this magazine as a key New York periodical, different in tone but of similar importance in its own literary culture as the Atlantic Monthly was in Boston, was certainly a boon to Twain’s East Coast reputation.  But as James Caron has argued in Mark Twain: Unsanctified Newspaper Reporter, the importance of the jumping frog story in establishing Twain’s reputation may be overstated.[1]  Instead of a sudden burst into public consciousness, the piece represents the culmination of more than a year of success on both coasts, where newspapers had published Mark Twain’s writings for the Californian, a magazine aimed at national and international, rather than regional, audiences.[2]

Nevertheless, the story of the Jumping Frog quickly took a central, if possibly oversized, role in the public’s view of Mark Twain.  Writing in the New York Tribune in May 1867, the drama critic Edward “Ned” House wrote:
The chance offering of ‘The Jumping Frog,’ carelessly cast, eighteen months ago, upon the Atlantic waters, returned to him in the most agreeable form which a young aspirant for public fame could desire.  The wind that was sowed with probably very little calculation as to its effect upon its future prospects, now enables him to reap quite a respectable tempest of encouragement and cordiality.
For many years in the early career of Mark Twain, newspapers and magazines linked the fame of the Jumping Frog story to the fame of Mark Twain–sometimes very literally.
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I would like to share three major images of Mark Twain in conjunction with his jumping frog.  First, and undoubtedly most famous, is the illustration by Frederick Waddy from the English journal Once a Week from December 1872, shortly after Twain’s first visit to England.
Mark Twain Jumping Frog Calaveras County
**Keep reading for two more images of Twain and the Jumping Frog.**

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