Download Free Wits End What Wit Is How It Works And Why We Need It Book in PDF and EPUB Free Download. You can read online Wits End What Wit Is How It Works And Why We Need It and write the review.

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.
"America's irrepressible doyenne of domestic satire." THE BOSTON GLOBE Madcap, bittersweet humor in classic Erma Bombeck-style. You'll laugh until it hurts and love it! "Any mother with half a skull knows that when Daddy's little boy becomes Mommy's little boy, the kid is so wet, he's treading water. What do you mean you're a participle in the school play and you need a costume? Those rotten kids. If only they'd let me wake up in my own way. Why do they have to line up along my bed and stare at me like Moby Dick just washed up onto a beach somewhere?"
Presents guidance and encouragement for family members on ways to help loved ones suffering from both psychiatric and addictive disorders.
This “delightful and eccentric new tale”(The Boston Globe) from the bestselling author of The Jane Austen Book Club subverts the whodunit and gives us a thoroughly modern meta-mystery with wit, warmth, and heart. At loose ends and weary from her recent losses—the deaths of an inventive if at times irritating father and her beloved brother—Rima Lansill comes to Wit's End, the home of her legendary godmother, bestselling mystery writer Addison Early, to regroup...and in search of answers. For starters, why did Addison name one of her characters—a murderer—after Rima's father? But Addison is secretive and feisty, so consumed with protecting her famous fictional detective, Maxwell Lane, from the vagaries of the Internet rumor that she has writer's block. As one woman searches for truth, the other struggles to control the reality of her fiction. Rima soon becomes enmeshed in Addison's household of eccentrics: a formerly alcoholic cook and her irksome son, two quirky dog-walkers, a mysterious stalker, the tiny characters that populate Addison's dollhouse crime-scene replicas, and even Maxwell Lane himself. But, wrapped up in a mystery that may or may not be of her own creation, Rima discovers to her surprise that the ultimate solution to this puzzle is the new family she has found at the house called Wit's End. Here, Karen Joy Fowler delivers top-notch storytelling—creating characters both oddball and endearing in a voice that is utterly and memorably her own—in this clever, playful novel about finally allowing oneself to grow up-with a dash of mystery thrown in.
Sue Scheff turned to a therapeutic boarding school for solutions to her out-of-control teenage daughters behavior problems. Wits End is the story of how her attempt at saving her troubled teen turned into a nightmare and includes the program that she now implements to consult other parents who are at wits end through her national organization Parents Universal Resource Experts (PURE).
We are becoming less intelligent. This is the shocking yet fascinating message of At Our Wits' End. The authors take us on a journey through the growing body of evidence that we are significantly less intelligent now than we were a hundred years ago. The research proving this is, at once, profoundly thought-provoking, highly controversial, and it's currently only read by academics. But the authors are passionate that it cannot remain ensconced in the ivory tower any longer. With At Our Wits' End, they present the first ever popular scientific book on this crucially important issue. They prove that intelligence — which is strongly genetic — was increasing up until the breakthrough of the Industrial Revolution, because we were subject to the rigors of Darwinian Selection, meaning that lots of surviving children was the preserve of the cleverest. But since then, they show, intelligence has gone into rapid decline, because large families are increasingly the preserve of the least intelligent. The book explores how this change has occurred and, crucially, what its consequences will be for the future. Can we find a way of reversing the decline of our IQ? Or will we witness the collapse of civilization and the rise of a new Dark Age?
"Why does A. J. Liebling remain a vibrant role model for writers while the superb, prolific St. Clair McKelway has been sorely forgotten?" James Wolcott asked this question in a recent review of the Complete New Yorker on DVD. Anyone who has read a single paragraph of McKelway's work would struggle to provide an answer. His articles for the New Yorker were defined by their clean language and incomporable wit, by his love of New York's rough edges and his affection for the working man (whether that work was come by honestly or not). Like Joseph Mitchell and A. J. Liebling, McKelway combined the unflagging curiosity of a great reporter with the narrative flair of a master storyteller. William Shawn, the magazine's long-time editor, described him as a writer with the "lightest of light touches." His style is so striking, Shawn went on to say, that "it was too odd to be imitated." The pieces collected here are drawn from two of McKelway's books--True Tales from the Annals of Crime and Rascality (1951) and The Big Little Man from Brooklyn (1969). His subjects are the small players who in their particulars defined life in New York during the 36 years McKelway wrote: the junkmen, boxing cornermen, counterfeiters, con artists, fire marshals, priests, and beat cops and detectives. The "rascals." An amazing portrait of a long forgotten New York by the reporter who helped establish and utterly defined New Yorker "fact writing," Untitled Collection is long overdue celebration of a truly gifted writer.
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.
In Wit’s End, Sean Zwagerman offers an original perspective on women’s use of humor as a performative strategy as seen in works of twentieth-century American literature. He argues that women whose direct, explicit performative speech has been traditionally denied, or not taken seriously, have often turned to humor as a means of communicating with men. The book examines both the potential and limits of women’s humor as a rhetorical strategy in the writings of James Thurber, Zora Neale Hurston, Dorothy Parker, Edward Albee, Louise Erdrich, and others. For Zwagerman, these texts “talk back” to important arguments in humor studies and speech-act theory. He deconstructs the use of humor in select passages by employing the theories of J. L. Austin, John Searle, Jacques Derrida, Shoshana Felman, J. Hillis Miller, and Eve Kosofsky Sedgwick. Zwagerman offers arguments both for and against these approaches while advancing new thinking on humor as the “end”—both the goal and limit—of performative strategy, and as a means of expressing a full range of serious purposes. Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society. Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change. Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society. Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change.
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.