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This collection is the first to focus on the transgressive and
transformative power of American female humorists. It explores the
work of authors and comediennes such as Carolyn Wells, Lucille
Clifton, Mary McCarthy, Lynne Tillman, Constance Rourke, Roz Chast,
Amy Schumer and Samantha Bee, and the ways in which their humor
challenges gendered norms and assumptions through the use of irony,
satire, parody, and wit. The chapters draw from the experiences of
women from a variety of racial, class, and gender identities and
encompass a variety of genres and comedic forms including poetry,
fiction, prose, autobiography, graphic memoir, comedic performance,
and new media. Transgressive Humor of American Women Writers will
appeal to a general educated readership as well as to those
interested in women's and gender studies, humor studies, urban
studies, American literature and cultural studies, and media
studies.
This collection is the first to focus on the transgressive and
transformative power of American female humorists. It explores the
work of authors and comediennes such as Carolyn Wells, Lucille
Clifton, Mary McCarthy, Lynne Tillman, Constance Rourke, Roz Chast,
Amy Schumer and Samantha Bee, and the ways in which their humor
challenges gendered norms and assumptions through the use of irony,
satire, parody, and wit. The chapters draw from the experiences of
women from a variety of racial, class, and gender identities and
encompass a variety of genres and comedic forms including poetry,
fiction, prose, autobiography, graphic memoir, comedic performance,
and new media. Transgressive Humor of American Women Writers will
appeal to a general educated readership as well as to those
interested in women's and gender studies, humor studies, urban
studies, American literature and cultural studies, and media
studies.
Seen as too smart, too sassy, too sexy, and too strident, female
humorists have been resisted and overlooked. New York Women of Wit
in the Twentieth Century corrects this tendency, focusing on the
foremothers of women’s humor in modern America, who used satire,
irony, and wit as indirect forms of social protest. This book
focuses on the women who stood on the periphery of predominantly
male New York intellectual circles in the twentieth century.
Sabrina Fuchs Abrams argues that the advent of modernism, the
women’s suffrage movement, the emergence of the New Woman and the
New Negro Woman, and the growth of urban centers in the 1920s and
’30s gave rise to a new voice of women’s humor, one that was at
once defiant and conflicted in defining female identity and the
underlying assumptions about gender roles in American society. Her
study gives special attention to the contributions of the satirists
Edna St. Vincent Millay (pseudonym Nancy Boyd), Tess Slesinger,
Dorothy Parker, Jessie Redmon Fauset, Dawn Powell, and Mary
McCarthy. Grounded in theories of humor, feminist and critical race
theory, and urban studies, this book will find an audience among
scholars and students interested in women writers, feminist humor,
modern American literature, and African American studies.
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