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This is the first publication in English of the anthology that contains Breton’s definitive statement on l’humour noir, one of the seminal concepts of Surrealism, and his provocative assessments of the writers he most admired. While some of the authors featured in The Anthology of Black Humor are already well known to American readers—Swift, Kafka, Rimbaud, Poe, Lewis Carroll, and Baudelaire among them (and even then, Breton’s selections are often surprising)—many others are sure to come as a revelation. The entries range from the acerbic aphorisms of Swift, Lichtenberg, and Duchamp to the theatrical slapstick of Christian Dietrich Grabbe, from the wry missives of Rimbaud and Jacques Vache to the manic paranoia of Dali, from the ferocious iconoclasm of Alfred Jarry and Arthur Craven to the offhand hilarity of Apollinaire at his most spontaneous. For each of the forty-five authors included, Breton has provided an enlightening biographical and critical preface, situating both the writer and the work in the context of black humor—a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as "a superior revolt of the mind." "Anthologies can aim to be groundbreaking or thought-provoking; few can be said to have introduced a new phrase—or a new concept—into the language. No one had ever used the term "black humour" before this one came along, unless, perhaps, it was from a racial angle."—The Guardian Andre Breton (1896-1966), the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. His best-known works in English translation include Nadja, Mad Love, The Manifestoes of Surrealism, The Magnetic Fields (with Philippe Soupault), and Earthlight. Mark Polizzotti is the author of Revolution of the Mind: The Life of Andre Breton.
Edited by the author of The Sellout, winner of the 2016 Man Booker Prize, Hokum is a liberating, eccentric, savagely comic anthology of the funniest writing by black Americans. This book is less a comprehensive collection than it is a mix-tape narrative dubbed by a trusted friend-a sampler of underground classics, rare grooves, and timeless summer jams, poetry and prose juxtaposed with the blues, hip-hop, political speeches, and the world's funniest radio sermon. The subtle musings of Toni Cade Bambara, Henry Dumas, and Harryette Mullen are bracketed by the profane and often loud ruminations of Langston Hughes, Darius James, Wanda Coleman, Tish Benson, Steve Cannon, and Hattie Gossett. Some of the funniest writers don't write, so included are selections from well-known yet unpublished wits Lightnin' Hopkins, Mike Tyson, and the Reverend Al Sharpton. Selections also come from public figures and authors whose humor, although incisive and profound, is often overlooked: Malcolm X, Suzan-Lori Parks, Zora Neale Hurston, Sojourner Truth, and W.E.B. Dubois. Groundbreaking, fierce, and hilarious, this is a necessary anthology for any fan or student of American writing, with a huge range and a smart, political grasp of the uses of humor.
A groundbreaking history of the Black Joke, the most famous member of the British Royal Navy’s anti-slavery squadron, and the long fight to end the transatlantic slave trade. The most feared ship in Britain’s West Africa Squadron, His Majesty’s brig Black Joke was one of a handful of ships tasked with patrolling the western coast of Africa in an effort to end hundreds of years of global slave trading. Sailing after the spectacular fall of Napoleon in France, yet before the rise of Queen Victoria’s England, Black Joke was first a slaving vessel itself, and one with a lightning-fast reputation; only a lucky capture in 1827 allowed it to be repurposed by the Royal Navy to catch its former compatriots. Over the next five years, the ship’s diverse crew and dedicated commanders would capture more ships and liberate more enslaved people than any other in the Squadron. Now, author A.E. Rooks chronicles the adventures on this ship and its crew in a brilliant, lively narrative of the history of Britain’s suppression efforts. As Britain slowly attempted to snuff out the transatlantic slave trade by way of treaty and negotiation, enforcing these policies fell to the Black Joke and those that sailed with it as they battled slavers, weather disasters, and interpersonal drama among captains and crew that reverberated across oceans. In this history of the daring feats of a single ship, the abolition of the international slave trade is revealed as an inexplicably extended exercise involving tense negotiations between many national powers, both colonizers and formerly colonized, that would stretch on for decades longer than it should have. Harrowing and heartbreaking, The Black Joke is a crucial and deeply compelling work of history, both as a reckoning with slavery and abolition and as a lesson about the power of political will—or the lack thereof.
Throughout history’s darkest times, people have exhibited a particular type of humor: dark humor, also known as black humor, black comedy, dark comedy, or gallows humor. That’s my favorite kind. I like absurd, random stuff. But with a dark twist. Black humor makes fun of the things that terrify us. It’s a coping mechanism. Some people think death is taboo as a topic for jokes. But every stand up comic and every cartoonist knows that taboo jokes get the biggest laughs, the guilty laughs, and the biggest dopamine release. Humor is not supposed to be polite. It’s supposed to mock bad things. Here’s a little selection of some of my favorite cartoons, about life’s painful little absurdities that make me laugh. “I laugh because I must not cry, that is all, that is all.” -Abraham Lincoln "If you're a fan of Gary Larson's The Far Side, you'll love Gaspirtz's Dark Humor." -Not Abraham Lincoln
This collection of anecdotes, tales, jokes, toasts, rhymes, satire, riffs, poems, stand-up sketches, and snaps documents the evolution of African American humor over the past two centuries. It includes routines and writings from such luminaries as Bert Williams, Butterbeans & Susie, Stepin Fetchit, Moms Mabley, Ralph Ellison, Langston Hughes, Redd Foxx, Ishmael Reed, Bill Cosby, Richard Pryor, Martin Lawrence, and Chris Rock. This anthology includes classic stage routines, literary examples, and witty quotations presented in their entirety.
A Decade of Dark Humor analyzes ways in which popular and visual culture used humor-in a variety of forms-to confront the attacks of September 11, 2001 and, more specifically, the aftermath. This interdisciplinary volume brings together scholars from four countries to discuss the impact of humor and irony on both media discourse and tangible political reality. Furthermore, it demonstrates that laughter is simultaneously an avenue through which social issues are deferred or obfuscated, a way in which neoliberal or neoconservative rhetoric is challenged, and a means of forming alternative political ideologies. The volume's contributors cover a broad range of media productions, including news parodies (The Daily Show with Jon Stewart, The Colbert Report, The Onion), TV roundtable shows (Politically Incorrect with Bill Maher), comic strips and cartoons (Aaron McGruder's The Boondocks, Jeff Danzinger's editorial cartoons), television drama (Rescue Me), animated satire (South Park), graphic novels (Art Spiegelman's In the Shadow of No Towers), documentary (Fahrenheit 9/11), and other productions. Along with examining the rhetorical methods and aesthetic techniques of these productions, the essays place each in specific political and journalistic contexts, showing how corporations, news outlets, and political institutions responded to-and sometimes co-opted-these forms of humor.
A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.
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.
Provides an examination of the use of dark humor in classic literary works.
Hugleikur Dagsson is from Iceland. During the winter in Iceland there are only three hours of daylight. During the summer in Iceland there is no darkness. Iceland’s national drink is called ‘Black Death’. Iceland's national dish is putrefied shark meat. In Iceland this book is a cult-bestseller. The questions you should ask yourself is:Should you be laughing at this?