The World of Alphonse Allais


Book Description

In one of his Independent pieces Miles Kington once referred to a volume of Edward Lear's limericks translated into French. Not an easy task, you might think, and in translating Alphonse Allais into English, Miles Kington set himself a similar challenge. He carried it off with panache. As Max Harrison said in The Times, '... has done a difficult job well, even preserving some of Allais's puns'. Alphonse Allais has been described as the greatest humorous writer ever. In the words of Lisa Appignanesi, 'Allais was a consummate absurdist. From an ordinary phenomenon, simple sentiment or situation, he would logically deduce the looniest, most macabre and most unexpected result ... His humour kept all Paris, high and low, waiting breathlessly for the paper which would carry his next tale ...' On first publication, in 1976, Clive James in the Observer said 'Allais has been dead 70 years but his mocking tone ensures him a permanently relevant after-life'. And John Sturrock in the New Statesman, 'Allais stands, along with Jarry, at the head of the most dazzling and highly educated tradition of French humour, as witty as it is whimsical'. Faber Finds offers this rare book as a tribute not only to Alphonse Allais but also Miles Kington, two great humorists in tandem.




The World of Alphonse Allais


Book Description

"Alphonse Allais has been described as the greatest humorous writer France ever produced, and Jean Cocteau called him 'the prince of storytellers,' yet he has hardly been heard of in England -- for the simple reason that he has never before been translated into English. Because his humour is too French? On the contrary, the French have always felt there was something a little too English about Allais...This selecton of some seventy pieces, translated and introduced by Miles Kington, literary editor of Punch, brings the full range of his inspired virtuosity to an English audience (perhaps his true audience?) for the first time" -- Front jacket flap.




The Book of Absinthe


Book Description

A witty, erudite primer to the world’s most notorious drink. La Fée Verte (or “The Green Fairy”) has intoxicated artists, poets, and writers ever since the late eighteenth century. Stories abound of absinthe’s drug-like sensations of mood lift and inspiration due to the presence of wormwood, its infamous “special” ingredient, which ultimately leads to delirium, homicidal mania, and death. Opening with the sensational 1905 Absinthe Murders, Phil Baker offers a cultural history of absinthe, from its modest origins as an herbal tonic through its luxuriantly morbid heyday in the late nineteenth century. Chronicling a fascinatingly lurid cast of historical characters who often died young, the absinthe scrapbook includes Paul Verlaine, Arthur Rimbaud, Charles Baudelaire, Oscar Wilde, Ernest Dowson, Aleister Crowley, Arthur Machen, August Strindberg, Alfred Jarry, Vincent van Gogh, Henri de Toulouse-Lautrec, Alphonse Allais, Ernest Hemingway, and Pablo Picasso. Along with discussing the rituals and modus operandi of absinthe drinking, Baker reveals the recently discovered pharmacology of how real absinthe actually works on the nervous system, and he tests the various real and fake absinthe products that are available overseas. “Formidably researched, beautifully written, and abundant with telling detail and pitch-black humor.” —The Daily Telegraph




Study in Black and White


Book Description

In this volume, Tanya Sheehan takes humor seriously in order to trace how photographic comedy was used in America and transnationally to express evolving ideas about race, black emancipation, and civil rights in the mid-1800s and into the twentieth century. Sheehan employs a trove of understudied materials to write a new history of photography, one that encompasses the rise of the commercial portrait studio in the 1840s, the popularization of amateur photography around 1900, and the mass circulation of postcards and other photographic ephemera in the twentieth century. She examines the racial politics that shaped some of the most essential elements of the medium, from the negative-positive process to the convention of the photographic smile. The book also places historical discourses in relation to contemporary art that critiques racism through humor, including the work of Genevieve Grieves, Adrian Piper, Lorna Simpson, Kara Walker, and Fred Wilson. By treating racial humor about and within the photographic medium as complex social commentary, rather than a collectible curiosity, Study in Black and White enriches our understanding of photography in popular culture. Transhistorical and interdisciplinary, this book will be of vital interest to scholars of art history and visual studies, critical race studies, U.S. history, and African American studies.




Hoping It Might Be So


Book Description

Hoping It Might Be So brings together all of Kit Wright's previous collections for adults as well as three dozen new poems. The collection, first published in 2000, was described by Christina Patterson in the Sunday Times as 'funny and profoundly humane' and by Sophie Hannah in the PN Review as 'full of verve and energy, with a strong musical quality that makes you want to read on and hear more'. Sean O'Brien in the Times Literary Supplement described Kit Wright as 'a masterly yet modest poet' while Ruth Padel in the Independent on Sunday said that 'all through his work there is that poignancy, darkness, brush with despair, which marks great comic work.' The poet Anthony Wilson said that Wright 'can be funny, serious and moving, and sometimes all three in the space of a single poem'. Hoping It Might Be So is a rewarding collection from an interesting, prolific and lively poet whose poems range from ribald to grief-stricken, elegiac to rambunctious




Dictionary of Gestures


Book Description

An illustrated guide to more than 850 gestures and their meanings around the world, from a nod of the head to a click of the heels. Gestures convey meaning with a flourish. A vigorous nod of the head, a bold jut of the chin, an enthusiastic thumbs-up: all speak louder than words. Yet the same gesture may have different meanings in different parts of the world. What Americans understand as the “A-OK gesture,” for example, is an obscene insult in the Arab world. This volume is the reference book we didn't know we needed—an illustrated dictionary of 850 gestures and their meanings around the world. It catalogs voluntary gestures made to communicate openly—as distinct from sign language, dance moves, involuntary “tells,” or secret handshakes—and explains what the gesture conveys in a variety of locations. It is organized by body part, from top to bottom, from head (nodding, shaking, turning) to foot (scraping, kicking, playing footsie). We learn that “to oscillate the head while gently throwing it back” communicates approval in some countries even though it resembles the headshake of disapproval used in other countries; that “to tap a slightly inflated cheek” constitutes an erotic invitation when accompanied by a wink; that the middle finger pointed in the air signifies approval in South America. We may already know that it is a grave insult in the Middle East and Asia to display the sole of one's shoe, but perhaps not that motorcyclists sometimes greet each other by raising a foot. Illustrated with clever line drawings and documented with quotations from literature (the author, François Caradec, was a distinguished and prolific historian of literature, culture, and humorous oddities, as well as a novelist and poet), this dictionary offers readers unique lessons in polylingual meaning.




A Forest of Symbols


Book Description

A groundbreaking reassessment of Symbolist artists and writers that investigates the concerns they shared with scientists of the period—the problem of subjectivity in particular. In A Forest of Symbols, Andrei Pop presents a groundbreaking reassessment of those writers and artists in the late nineteenth century associated with the Symbolist movement. For Pop, “symbolist” denotes an art that is self-conscious about its modes of making meaning, and he argues that these symbolist practices, which sought to provide more direct access to viewers and readers by constant revision of its material means of meaning-making (brushstrokes on a canvas, words on a page), are crucial to understanding the genesis of modern art. The symbolists saw art not as a social revolution, but as a revolution in sense and how to conceptualize the world. The concerns of symbolist painters and poets were shared to a remarkable degree by theoretical scientists of the period, who were dissatisfied with the strict empiricism dominant in their disciplines, which made shared knowledge seem unattainable. The problem of subjectivity in particular, of what in one's experience can and cannot be shared, was crucial to the possibility of collaboration within science and to the communication of artistic innovation. Pop offers close readings of the literary and visual practices of Manet and Mallarmé, of drawings by Ernst Mach, William James and Wittgenstein, of experiments with color by Bracquemond and Van Gogh, and of the philosophical systems of Frege and Russell—filling in a startling but coherent picture of the symbolist heritage of modernity and its consequences.




Montmartre: A Cultural History


Book Description

Montmartre: A Cultural History offers an engaging tour of one of the most fascinating areas of Paris, exploring a rich history from the Belle Epoque to the Occupation. The work explores many iconic areas of Paris, such as the Moulin-Rouge and Sacré-Coeur.




USSR


Book Description

Marx and Engels invented it; Lenin volunteered Russia for the honour of trying it; the Soviet people had to live with it.. This tongue-in-cheek travel guide is a cherishably witty insight into the chaotic, bewildering and sometimes scary society that resulted from this heroically doomed effort to "build Communism". It teaches you basic Soviet survival skills including how to queue for useless products, bribe your way into empty restaurants and contravene anti-alcohol measures. 'The authors' pen is driven not only by a blind hatred of socialism but also a genuine pathological medical condition.' Young Communists' Pravda (1986). 'In 1986 USSR was a prescient, hilarious and inspirational take on the evil empire. For Soviet totalitarianism ridicule was a deadly foe. To Polonsky and Taylor, the thanks of all those who were once captive and are now free.' Edward Lucas, International Editor, Economist




Art and the Everyday


Book Description

The premiere of Erik Satie's Parade in May 1917 marked the emergence of a new musical avant-garde in Paris. To many young artists Parade exemplified a wish to escape Symbolist purity and fuse 'art' with everyday life--a rallying cry quickly adopted by Jean Cocteau in his celebrated pamphlet on new French music, The Cock And The Harlequin, in 1918.