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Books > Language & Literature > Literature: history & criticism > Poetry & poets
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Laugh Lines - Humor, Genre, and Political Critique in Late Twentieth-Century American Poetry (Hardcover)
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Laugh Lines - Humor, Genre, and Political Critique in Late Twentieth-Century American Poetry (Hardcover)
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Humor in recent American poetry has been largely dismissed or
ignored by scholars, due in part to a staid reverence for the
lyric. Laugh Lines: Humor, Genre, and Political Critique in Late
Twentieth-Century American Poetry argues that humor is not a
superficial feature of a small subset, but instead an integral
feature in a great deal of American poetry written since the 1950s.
Rather than viewing poetry as a lofty, serious genre, Carrie
Conners asks readers to consider poetry alongside another art form
that has burgeoned in America since the 1950s: stand-up comedy.
Both art forms use wit and laughter to rethink the world and the
words used to describe it. Humor's disruptive nature makes it
especially whetted for critique. Many comedians and humorous poets
prove to be astute cultural critics. To that end, Laugh Lines
focuses on poetry that wields humor to espouse sociopolitical
critique. To show the range of recent American poetry that uses
humor to articulate sociopolitical critique, Conners highlights the
work of poets working in four distinct poetic genres: traditional,
received forms, such as the sonnet; the epic; procedural poetry;
and prose poetry. Marilyn Hacker, Harryette Mullen, Ed Dorn, and
Russell Edson provide the main focus of the chapters, but each
chapter compares those poets to others writing humorous political
verse in the same genre, including Terrance Hayes and Anne Carson.
This comparison highlights the pervasiveness of this trend in
recent American poetry and reveals the particular ways the poets
use conventions of genre to generate and even amplify their humor.
Conners argues that the interplay between humor and genre creates
special opportunities for political critique, as poetic forms and
styles can invoke the very social constructs that the poets deride.
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