HUMOR IN AMERICA SERIES
Penn State University Press
Series Editors: Judith Yaross Lee & Tracy Wuster
From Benjamin Franklin to Mark Twain, Mel Brooks to Richard Pryor, Our Gang to Inside Amy Schumer, American humor has time and again proven itself to be more than mere entertainment: it has brought cultural norms and practices in America into sharp relief and, sometimes, successfully changed them. The Humor in America series considers humor as anexpression that reflects key concerns of people in specific times and places.
The series engages the full range of the field, from literature, theater, and stand-up comedy to comics, radio, and other media in which humor addresses American experiences. With interdisciplinary research, historical and transnational approaches, and comparative scholarship that carefully examines contexts such as race, gender, class, sexuality, and region, books in the Humor in America series show how the artistic and cultural expression of humor both responds to and shapes American culture. The series will publish mainly authored volumes–although we will consider edited collections–and will appeal to audiences that include scholars, students, and the intellectually curious general reader.
Questions or submissions should be directed to the series editors at: email@example.com and
Judith Yaross Lee is Distinguished Professor of Communication Studies and Charles E. Zumkehr Professor of Rhetoric & Culture in the School of Communication Studies at Ohio University in Athens, Ohio (recently retired), and the author, most recently, of Twain’s Brand: Humor in Contemporary American Culture.
Tracy Wuster teaches at the University of Texas at Austin. He is the director of the Humor in American Project at UT and the executive director of the American Humor Studies Association. He is the author of Mark Twain, American Humorist.
Proposals should take the form of a three- to five-page proposal outlining the intent of the project, its scope and relation to other work on the topic, and the likely audience(s) for the book. Please also include a current CV. The editors note that although it is a logical fallacy to expect scholarship on humor to be funny, the best humor scholarship can be fun— and illuminate its exemplars’ comic spirit—while also being intellectually rigorous and a pleasure to read.
Series Editorial Board
Emeritus, University of Illinois at Urbana‐Champaign
University of Toronto
An older post. One that Roseanne herself commented on. See comments.
What did I do the summer after I earned my master’s degree? I spent the better part of my free time on the couch watching Roseanne reruns. An F4 tornado unceremoniously concluded my last semester at the University of Alabama, and the frightful costs associated with cleaning up my life and property kept me solidly out of vacation mode. Things had been rough even before that. Those closest to me were experiencing layoffs, long-term unemployment, and bankruptcy. My own medical bills were piling up, and to top it all off I was growing out my bangs.
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I can remember my first scholarly thought. Well, I should say that I can visualize the context of my first scholarly thought. Like a Polaroid of a younger me looking through a View-Master: I know that I saw something, and how, but can’t remember what.
I can almost replicate the place from memory, but will never replicate the time. Heraclitus, who was smarter than the average Greek, once wrote fragmentedly, “You cannot step into the same river, for other waters and yet others go ever flowing on.” True, but the Greeks widely preached the maxim to “Know Thyself,” and I remember helping my grandfather once, and being rewarded with a copy of Mark Twain’s The Adventures of Huckleberry Finn.
To be precise it was The Annotated Huckleberry Finn, edited by Michael Patrick Hearn, copyright 1981 by Clarkson N. Potter, republished by
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In October of 2011, Tracy Wuster took a chance and brought me on as poetry editor, even though I don’t have the academic credentials of my HIA colleagues.
Drafting seventy blog posts on a subject I’m passionate about has been a privilege and a great learning experience.
As my monthly participation in this collaborative writing project comes to an end, and tumultuous 2017 becomes a memory, I’m feeling a bit wistful. The only American Poem that mirrors my emotions and feels apropos is aimed at the heart instead of the funny bone. It was penned by anthologist, translator, critic and poet, Louis Untermeyer, who was born in New York City in 1885, and died forty years ago today.
End of the Comedy
Eleven o’clock, and the curtain falls.
The cold wind tears the strands of illusion;
The delicate music is lost
In the blare of home-going crowds
And a midnight paper.
The night has grown martial;
It meets us with blows and disaster.
Even the stars have turned shrapnel,
Fixed in silent explosions.
And here at our door
The moonlight is laid
Like a drawn sword.
— Louis Untermeyer
Warmest wishes for the coming year and beyond. Thank you for your readership. Keep reading and writing poetry!
Humor in America 2018
Call for Participants
American Humor Studies Association
Mark Twain Circle of America
“Humor in America” will be held on the campus Roosevelt University in downtown Chicago from July 12-15. The conference will feature paper panels and roundtables on all aspects of American humor and/or any subject related to Mark Twain.
Please send proposals to firstname.lastname@example.org by February 1, 2018. Notifications will be sent by March 1. Please feel free to contact the conference organizers, Tracy Wuster, Larry Howe, and Pete Kunze, with any questions at email@example.com.
Proposals for paper presentations of 15-18 minutes should consist of a 250-word proposal and A/V requests.
Proposals for organized panels of 15-18 minute papers moderated by a chair should include individual 250-word proposals, an overview of 100 words, a proposed Chair (not required), ad A/V requests.
Each roundtable participant will speak for 7-9 minutes on a topic related to the larger theme (see below). Participants may present both a paper and participate in a roundtable, should space allow. If you wish to participate only in a roundtable, please indicate with your submission. Please submit a title and 100-word abstract if interested by February 1, 2018.
–Theory, Methodology, and Practice of Humor Studies: New Directions
–MT and Graphic Humor: Icon and Caricature
–Gender and Humor: Can Men be Funny?
–Race, Ethnicity, and the Study of Humor
–Mark Twain and Today’s satirists: Colbert, Bee, and Oliver
–The Publics of Political Humor and Satire
–Violence in the humor of Mark Twain
–Humor, Comedy, and Historiography
We welcome proposals for paper presentations and panels on any topic related to American humor and/or Mark Twain, broadly conceived. Scholars across the humanities are invited to present research on any of the following topics (or others related to humor, comedy, laughter, etc., etc.):
- literary humor (including but not limited to Chesnutt, Fanny Fern, Parker, Faulkner, Melville, Vonnegut, Ellison, Morrison, Kingston, Beatty, Ephron, Sedaris, etc.)
- humor and gender, race, sexuality, class, religion
- stand-up comedy, sketch comedy, and other humorous performances
- radio comedy, television, and film comedy
- visual humor, comics, and graphic narratives
- podcasts, internet humor, memes, and other new media
- satire, ridicule, parody, and other forms of humor
- humor in “serious” contexts or works
- humor in regional, national, transnational, international, and other spatial contexts
- All topics related to Mark Twain (especially the following topics: Mark Twain language play, MT and Political humor, MT and stand-up, MT a and gendered humor, Laughter and the Color Line: Huckleberry Finn and Pudd’nhead Wilson, The Fantastic and The Comic in MT, The Comic Rhetoric of MT’s Speeches and/or Interviews)
We especially welcome proposals from scholars of color, junior scholars, and independent scholars. Graduate students attending the conference will be eligible for “Constance Rourke Travel Grants” to assist with travel funds. We highly encourage scholars to contribute to this fund. See the conference website for more information.
Attendees must be (or become) a member of the American Humor Studies Association or the Mark Twain Circle of America. Presenters will be highly encouraged to submit article-length versions of their work for possible publication in Studies in American Humor, a peer-reviewed journal published by the American Humor Studies Association since 1974 and in conjunction with the Penn State University Press since 2015. Presenters on Mark Twain will be encouraged to submit article-length versions to the Mark Twain Annual, published by Penn State University Press.
The conference registration fee will be $40 for graduate students, adjunct faculty, and independent scholars, and $75 for tenure-track faculty members.
“Humor in America” is looking for contributions for an August issue. Started in 2011, this website publishes pieces about American humor and humor studies. We have published over 500 pieces, had over 350k visitors and over 600k page views, and have been attacked by Roseanne Barr (although Ricky Gervais tweeted a nice response).
In January 2017, we decided to go from a weekly (or thereabouts) publication schedule to a twice per year format, in which we hope to publish a number of high quality pieces each year in August and February. Thus, we are looking for contributors who can submit pieces by July 15th for publication in early August. If you are interested in writing a post, please write Tracy Wuster for more information.
Please review the types of pieces we tend to publish, which are largely focused on humor and its multiple roles in American culture. We generally to not publish humorous writing. We do not publish posts meant primarily to drive traffic or advertise something else. We are an academic community dedicated to smart writing about humor. We do not make money and we do not pay money for contributions.
A little different this year…
Last Saturday the Washington glitterati gathered at the Washington Hilton for what has become a major political event; the White House Correspondent’s Dinner. The draw has over the years become the president doing a stand-up bit followed by a professional comedian roasting more or less everybody in the room. This year’s invited host was Cecily Strong, a Saturday Night Live cast member known for playing The Girl You Wish You Hadn’t Started a Conversation With. Strong, only the second female to host in the last 20 years, did not go soft on those attending, pun intended. In twenty minutes she made sure to joke both left and right. My personal favorite was when she went after Obama: commenting on criticism that Senator Elizabeth Warren is “too idealistic and her proposed policies are too liberal,” she told people to look at President Obama “people thought the same about
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His humor is so rude, in such bad taste, that it offends no one — it is too offensive to be offensive. – Gay Talese
Don Rickles is bigger than stand-up comedy. The same way Frank Sinatra is bigger than singing. They each developed a style which would, in essence, become its own genre. They were both actors and, more accurately, entertainers. And they both forged their respective careers by refusing to compromise or vainly chase ephemeral trends. Such stuff as icons are made.
Don Rickles studied acting formally at the American Academy of Dramatic Arts, where Lauren Bacall, Grace Kelly, Spencer Tracy and Kirk Douglas studied. Rickles admits he wasn’t the best student at the Academy, but he received advice and direction there which he applied throughout his career. Rickles landed some film and television roles and appeared in a few stage productions, but the loudmouthed Jewish kid from Jackson…
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As the first snows of December drift across my South St Louis windows, and the last shards of Thanksgiving turkey find their way into the requisite casseroles, cold cuts, and cauldrons of stock, I find myself harkening back to early Advent Sundays of yore.
My childhood, like so many others, was loaded with the humor of the holidays, but one of my family’s favorite traditions always tended in a more marsupial direction. So if you’ie got some time between mixing tubs of “Tom and Jerry” and trimming the tree, I’d like to share one of many meaningful excursions through the absurd quadrants of kiddie Christmas culture.
As I boy growing up in Detroit in the 1970s, I loved watching my mother collapse the last of her gargantuan Thanksgiving feast into a few impossibly crammed Tupperware containers and stuff the serving platters, gravy boats, and silver-plate cutlery away for their long…
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While it’s a common complaint that holiday traditions and stories have become too commercialized, this beloved tale actually began as a commercial gimmick.
Robert May created the concept of a misfit reindeer in 1939 at the behest of his employer, the Montgomery Ward department store in Chicago. Ward’s had traditionally given a free coloring book to children at holiday time. That year, store executives decided it would be more cost-effective to create an original children’s book in-house. They didn’t know exactly what they wanted, but had the notion it should be an animal story with a main character…
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