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Mina Mooney has a new worst enemy--her best friend. . . Summer is just around the corner, but things are already too hot to handle in Del Rio Bay. Mina's so sprung over Brian that she's having a hard time just thinking straight. So, she's not at all ready when her best friend Lizzie makes their clique swear to a year-long virginity pact. . . Now Mina and her crew are feeling way too much heat. Kelly is glad to take things slow with cute jock Greg--but ex-hustler Angel isn't about to let her go drama-free. For Jacinta, a missed period and Raheem planning "their" future together is promising nothing but trouble. And when Lizzie finds out Mina has "betrayed" the pact, it's a head-to-head, no-holds-barred showdown that could say hasta la vista to the clique for good. Fresh, funny, and always on-point, Who You Wit'? is all about choosing sides when things get all too real.
Full-figured diva Desa Rae Jenkins and her lover boy, Roc Dawson, have finally agreed to make their way down the aisle for better or worse, richer or poorer, and no mess whatsoever shall keep them apart. Several weeks before the long-awaited wedding, however, Desa Rae is confronted by a woman from the past who makes her aware of Roc's naughty nights in a place known as Hell House. The betrayal sends them back to what Desa Rae considers square one, but then the unthinkable happens. Roc discovers that she's been keeping some secrets too. During a prior visit to her son's college, Desa Rae and her ex-husband, Reggie, dared to go where they never thought they'd venture again. As a result, Roc is ready to put his foot where the sun doesn't shine. He doesn't believe that Desa Rae would do him like that. Talk about the pot calling the kettle black. Each one continues to make a case for why the other is guilty as charged. Black love is, once again, on the chopping block. Can love survive, or will Desa Rae and Roc come to a difficult decision to put their ongoing madness to rest and settle for being long-distance friends?
When Mina Mooney betrays the clique's year-long virginity pact, she fears that her best friend Lizzie will never forgive her, while Kelly is only too happy to take things slow with Greg, and Jacinta has a pregnancy scare.
Winner of the 1999 Pulitzer Prize for Drama, the New York Drama Critics Circle Award, the Drama Desk Award, the Outer Critics Circle Award, the Lucille Lortel Award, and the Oppenheimer Award. Adapted to an Emmy Award-winning television movie, directed by Mike Nichols, starring Emma Thompson. Margaret Edson's powerfully imagined Pulitzer Prize–winning play examines what makes life worth living through her exploration of one of existence's unifying experiences—mortality—while she also probes the vital importance of human relationships. What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, "The play is not about doctors or even about cancer. It's about kindness, but it shows arrogance. It's about compassion, but it shows insensitivity." In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end? The immediacy of the presentation, and the clarity and elegance of Edson's writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.
CHOICE: OUTSTANDING ACADEMIC TITLE A scholarly and thought-provoking work that places Jewish humor at the center of a discourse about Jewish and German relations through most of the twentieth century. At Wit’s End explores the fascinating discourse on Jewish wit in the twentieth century when the Jewish joke became the subject of serious humanistic inquiry and inserted itself into the cultural and political debates among Germans and Jews against the ideologically charged backdrop of anti-Semitism, the Jewish question, and the Holocaust. The first in-depth study to explore the Jewish joke as a crucial rhetorical figure in larger cultural debates in Germany, author Louis Kaplan presents an engrossing and lucid work of scholarship that examines how “der jüdische Witz” (referring to both Jewish wit and jokes) was utilized differently in a number of texts, from the Weimar Republic to the rise of National Socialism, and how it was re-introduced into the public sphere after the Holocaust with the controversial publication of Salcia Landmann’s collection of Jewish jokes in the reparations era (Wiedergutmachung). Kaplan reviews the claims made about the Jewish joke and its provocative laughter by notable writers from a variety of ideological perspectives, demonstrating how their reflections on this complex cultural trope enable a better understanding of German–Jewish intercultural relations and their eventual breakdown in the Third Reich. He also illustrates how selfcritical and self-ironic Jewish Witz maintained a fraught and ambivalent relationship with anti-Semitism. In reviewing this critical and traumatic moment in modern German–Jewish history through the deadly discourse on the Jewish joke, At Wit’s End includes chapters on the virulent Austrian anti-Semitic racial theorist Arthur Trebitsch, the Nazi racial propagandist Siegfried Kadner, the German Marxist cultural historian Eduard Fuchs, the Jewish diasporic historian Erich Kahler, and the Jewish cabaret impresario Kurt Robitschek, among others. Shedding new light on anti-Semitism and on the Jewish question leading up to the Holocaust, At Wit’s End provides readers with a unique perspective by which to gain important insights about this crucial historical period that reverberates into the present day, when potentially offensive humor coupled with a toxic political climate and xenophobia can have deadly consequences.
Got wit? We’ve all been in that situation where we need to say something clever, but innocuous; smart enough to show some intelligence, without showing off; something funny, but not a joke. What we need in that moment is wit—that sparkling combination of charm, humor, confidence, and most of all, the right words at the right time. Elements of Wit is an engaging book that brings together the greatest wits of our time, and previous ones from Oscar Wilde to Nora Ephron, Winston Churchill to Christopher Hitchens, Mae West to Louis CK, and many in between. With chapters covering the essential ingredients of wit, this primer sheds light on how anyone—introverts, extroverts, wallflowers, and bon vivants—can find the right zinger, quip, parry, or retort…or at least be a little bit more interesting.
Jack Semple and E.D. Applewhite are back, in this middle-grade sequel to Stephanie S. Tolan’s Newbery Honor Book Surviving the Applewhites. Teenager E.D., the not so artistic, not at all eccentric member of the unconventional Applewhite clan, can't believe the plan her father has hatched to save the family from financial disaster. He’s decided to transform their rural North Carolina farm into a summer camp for creative children. Soon the farm is packed with temperamental artists, out-of-control campers, and an even more out-of-control goat. It's all a little too much for structure-loving E.D., even before threatening notes begin appearing in the family mailbox. Together with Jake Semple--the boy who survived his first year in the Applewhites' home school—she's determined to save the camp and the family from disaster. Like Carl Hiassan’s Chomp, Applewhites at Wit's End combines outrageous humor and the frustrations and joys of being part of a family.
Entertaining, illuminating, and entirely unique, Wit’s End “convey[s] the power of wit to refresh the mind” (Henry Hitchings, Wall Street Journal). In “this inventive and playful book” (Tom Beer, Newsday), James Geary explores every facet of wittiness, from its role in innovation to why puns are the highest form of wit. Adopting a different style for each chapter—from dramatic dialogue to sermon, heroic couplets to a barroom monologue—Geary embodies wit in all its forms. Wit’s End agilely balances psychology, folktale, visual art, and literary history with lighthearted humor and acute insight, demonstrating that wit and wisdom are really the same thing.
For fans of computers and comedy alike, an accessible and entertaining look into how we can use artificial intelligence to make smart machines funny. Most robots and smart devices are not known for their joke-telling abilities. And yet, as computer scientist Tony Veale explains in Your Wit Is My Command, machines are not inherently unfunny; they are just programmed that way. By examining the mechanisms of humor and jokes--how jokes actually works--Veale shows that computers can be built with a sense of humor, capable not only of producing a joke but also of appreciating one. Along the way, he explores the humor-generating capacities of fictional robots ranging from B-9 in Lost in Space to TARS in Interstellar, maps out possible scenarios for developing witty robots, and investigates such aspects of humor as puns, sarcasm, and offensiveness. In order for robots to be funny, Veale explains, we need to analyze humor computationally. Using artificial intelligence (AI), Veale shows that joke generation is a knowledge-based process--a sense of humor is blend of wit and wisdom. He notes that existing technologies can detect sarcasm in conversation, and explains how some jokes can be pre-scripted while others are generated algorithmically--all while making the technical aspects of AI accessible for the general reader. Of course, there's no single algorithm or technology that we can plug in to make our virtual assistants or GPS voice navigation funny, but Veale provides a computational roadmap for how we might get there.
Myfanwy Thomas awakens in a London park surrounded by dead bodies. With her memory gone, she must trust the instructions left by her former in order to survive. She quickly learns that she is a Rook, a high-level operative in a secret agency that protects the world from supernatural threats. But there is a mole inside the organization, and this person wants her dead. Battling to save herself, Myfanwy will encounter a person with four bodies, a woman who can enter her dreams, children transformed into deadly fighters, and terrifyingly vast conspiracy. Suspenseful and hilarious, The Rook is an outrageously imaginative thriller for readers who like their espionage with a dollop of purple slime. "Utterly convincing and engrossing -- -totally thought-through and frequently hilarious....Even this aging, jaded, attention-deficit-disordered critic was blown away."-Lev Grossman, Time