BOOKS: “Funny Stuff” ed. by Laura LaPlaca and Ryan Lintelman

Funny Stuff: How Comedy Shaped American HistoryFunny Stuff: How Comedy Shaped American History by Laura LaPlaca
My rating: 4 of 5 stars

Publisher Site — Rutgers University Press

Release Date: May 12, 2026

As the subtitle suggests, this book explores the nexus between American History and comedy across many, varied media (i.e. writing, theater, standup, improv, radio, television, movies, etc.) It’s an interesting book, but I don’t know that it has the right title. Considering the title, a reader might expect a fuller coverage of American History, drawing on whatever humorous outlets existed at the time (e.g. op-eds and satirical articles.) This book is more of a history of comedic content in the US with a substantial discussion of how comedy addressed / participated in changing views on sex, race, and sexuality and with occasional mention of how comedy was involved in other social issues, such as changing views on free speech and expression. You’re not going to learn how comedic writers addressed Smoot-Hawley or the Sinking of the Maine. (i.e. The book leads with comedic content and leans the discussion toward societal influence [rarely toward policy influence.] It does not lead with historical events and draw on appropriate comedic content.)

The book covers a lot of the same ground as Kliph Nesteroff’s The Comedians, though with quite different emphases. Nesteroff focuses on the gritty underside of comedy and the oft unseen dark side of comedians, while this book focuses on comedy as a factor in changing views on race and sex [as well as on the changing technological outlets for comedy.] Funny Stuff does spend a little more time on pre-20th century America than does Nesteroff, but not much more. Both books are heavily weighted toward the late 20th century to present. To be fair, there is much more volume of comedic output in this period. (That said, there were artists I expected coverage of, e.g. Josh Billings, that weren’t included. That’s where the book seems more like a history of comedy and its varied outlets.)

If you’re interested in the development of comedy in America, and its influence on social issues — most extensively attitudes towards race — I’d recommend this book.

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BOOK: “The Serious Guide to Joke Writing” by Sally Holloway

The Serious Guide to Joke Writing: How to Say Something Funny about AnythingThe Serious Guide to Joke Writing: How to Say Something Funny about Anything by Sally Holloway
My rating: 4 of 5 stars

Google Books Page

This book presents a textual version of the author’s joke writing seminar. It offers a few techniques for joke writing that are informed by the premises that: 1.) jokes exist out in the world for one to find — rather than to create; 2.) Anyone who is funny with his or her friends can be a funny joke writer, BUT not without effort. That effort comes in the form of training oneself to look at words and phrases in unconventional ways and in applying (largely mechanical) processes to coax or wheedle the jokes out of the ether. I say “largely mechanical” because there is a chapter on stream-of-consciousness joke writing, but the heart of the book is a process called joke-web building that is a step-by-step approach to finding humor wherever it may hide.

The book alternates practical and “theoretical” chapters. The “theoretical” chapters are mostly about the psychology that gets in one’s way as a joke writer and the ways around it. That is, those parts deal with the value of breaks and the need to manage anxiety. The practical chapters explain the procedures and have Q&A style troubleshooting sections in addition to a description of the process.

I found the book to be interesting and a quick read. Some of the procedures seem a bit tedious, but they do produce results. It may be possible to streamline them to one’s own situation.

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PROMPT: Writing

Daily writing prompt
What do you enjoy most about writing?

EPIPHANIES.

But, if you think about it, writing is miraculous. In the scheme of gifts that nature grants, it is way out beyond left field. Encoding ideas and images in simple characters in a way that can evoke emotional or cognitive responses in readers is kind of a superpower. (As is reading.)

PROMPT: Listen

Daily writing prompt
What do you listen to while you work?

I don’t. I could listen to instrumental music while writing or doing other mental work, but I can’t have anything with words / lyrics involved. It’s distracting and can warp my writing.

Wen Fu 10 “Originality” [文赋十] by Lu Ji [陆机] [w/Audio]

Splendid thoughts arise from joined words --
Lucidity is awakened:
Luminous like adorned brocade,
Doleful as a string serenade.
But if crib suspicions aren't killed,
It'll be just one more pulp piece.
Though you may be these word's weaver--
Some ancestor, the prime conceiver.
You must be just and rise above,
Though it kills words you've grown to love.

The original lines in Simplified Chinese:

或藻思绮合,清丽千眠。
炳若缛绣,凄若繁弦。
必所拟之不殊,乃暗合乎曩篇。
虽杼轴于予怀,怵佗人之我先。
苟伤廉而愆义,亦虽爱而必捐。

Wen Fu 9 [文赋九] “The Whip” by Lu Ji [陆机] [w/ Audio]

Language can be complex, reason may sprawl,
And words don't always seem to point the way.
Extremes aren't always clear and distinct.
Overhauls are not always an upgrade.
The gist may dwell in a key phrase or two --
Those words the whip that make it race or stay.
Though multitudinous words are in place
They must do more than roar, hiss, or bray.
Overuse of the whip exhausts the horse --
Keep the impulse to whip too much at bay.

The original lines in Simplified Chinese are:

或文繁理富,    而意不指适。
极无两致, 尽不可益。
立片言而居要,乃一篇之警策。
虽众辞之有条,必待兹而效绩。
亮功多而累寡,故取足而不易。

Wen Fu 8 [文赋 八] “Edits” by Lu Ji [陆机] [w/ Audio]

Maybe the first lines constrain the last;
Maybe ends insist on openings;
Maybe some truths escape all words;
Maybe dulcet lines tell no truths.
One may need to keep separated --
Beauty and truth -- to avoid wounds.
Inspect and haggle over each word --
Distinctions maybe finer than a hair;
Weigh each edit upon a scale;
Ensure each cut serves its purpose.

Original poem in Simplified Chinese:

或仰逼于先条,或俯侵于后章。
或辞害而理比,或言顺而义妨。
离之则双美, 合之则两伤。
考殿最于锱铢,定去留于毫芒。
苟铨衡之所裁,固应绳其必当。

Wen Fu 6 [文赋六] “Modes of Writing” by Lu Ji [陆机]

Poetry is poignant and ornate;
Essays are deep and content-centric.
Stele entries are true to the essence;
Paeans, moving and melancholic.
Inscriptions are concise and kindly;
Telltales have a logic and cadence.
Odes show great grace and refinement;
Op-eds are unrepressed and intense.
Music 's penetrating and stately;
Speeches must sparkle with cleverness.
Though there ever so many forms,
All thwart evil and allow release:
Expression, sans pride overweening,
With no waste of words or lost meaning.

Original in Simplified Chinese:

诗缘情而绮靡,赋体物而浏亮。
碑披文以相质,诔缠绵而凄怆。
铭博约而温润,箴顿挫而清壮。
颂优游以彬蔚,论精微而朗畅。
奏平彻以闲雅,说炜晔而谲诳。
虽区分之在兹,亦禁邪而制放。
要辞达而理举,故无取乎冗长。

Wen Fu 5: “Writing Styles” [文赋五] by Lu Ji [陆机] [w/ Audio]

Among ten thousand writing styles,
There's no one standard or measure.
The styles: many, muddled, and free --
Form, the unattainable treasure.
Talent in word-wrangling shows skill.
Idea conveyance shows craft.
Writers strive 'twixt have and have not --
Unyielding in shallow or deep draught.
An escape artist of fine lines --
Yet time and space consume in kind.
Intricacy excites the eye,
But frugality soothes the mind.
One of few words is not confined.
Verbose writers drift the Undefined.

The original in Simplified Chinese:

体有万殊,物无一量。
纷纭挥霍,形难为状。
辞程才以效伎,意司契而为匠。
在有无而黾勉,当浅深而不让。
虽离方而遯员,期穷形而尽相。
故夫夸目者尚奢,惬心者贵当。
言穷者无隘,论达者唯旷。

“Poetry Is a Destructive Force” by Wallace Stevens [w/ Audio]

That's what misery is,
Nothing to have at heart.
It is to have or nothing.

It is a thing to have,
A lion, an ox in his breast,
To feel it breathing there.

Corazón, stout dog,
Young ox, bow-legged bear,
He tastes its blood, not spit.

He is like a man
In the body of a violent beast.
Its muscles are his own. . .

The lion sleeps in the sun.
Its nose is on its paws.
It can kill a man.