Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.
Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.
By most accounts, immigrant literature deals primarily with how immigrants struggle to adapt to their adopted countries. Its readers have come to expect stories of identity formation, of how immigrants create ethnic communities and maintain ties to countries of origin. Yet such narratives can center exceptional stories of individual success or obscure the political forces that uproot millions of people the world over. Glenda R. Carpio argues that we need a new paradigm for migrant fiction. Migrant Aesthetics shows how contemporary authors—Teju Cole, Dinaw Mengestu, Aleksandar Hemon, Valeria Luiselli, Julie Otsuka, and Junot Díaz—expose the historical legacies and political injustices that produce forced migration through artistic innovation. Their fiction rejects the generic features of immigrant literature—especially the acculturation plot and the use of migrant narrators as cultural guides who must appeal to readerly empathy. They emphasize the limits of empathy, insisting instead that readers recognize their own roles in the realities of migration, which, like climate change, is driven by global inequalities. Carpio traces how these authors create literary echoes of the past, showing how the history of (neo)colonialism links distinct immigrant experiences and can lay the foundation for cross-ethnic migrant solidarity. Revealing how migration shapes and is shaped by language and narrative, Migrant Aesthetics casts fiction as vital testimony to past and present colonial, imperial, and structural displacement and violence.
By most accounts, immigrant literature deals primarily with how immigrants struggle to adapt to their adopted countries. Its readers have come to expect stories of identity formation, of how immigrants create ethnic communities and maintain ties to countries of origin. Yet such narratives can center exceptional stories of individual success or obscure the political forces that uproot millions of people the world over. Glenda R. Carpio argues that we need a new paradigm for migrant fiction. Migrant Aesthetics shows how contemporary authors—Teju Cole, Dinaw Mengestu, Aleksandar Hemon, Valeria Luiselli, Julie Otsuka, and Junot Díaz—expose the historical legacies and political injustices that produce forced migration through artistic innovation. Their fiction rejects the generic features of immigrant literature—especially the acculturation plot and the use of migrant narrators as cultural guides who must appeal to readerly empathy. They emphasize the limits of empathy, insisting instead that readers recognize their own roles in the realities of migration, which, like climate change, is driven by global inequalities. Carpio traces how these authors create literary echoes of the past, showing how the history of (neo)colonialism links distinct immigrant experiences and can lay the foundation for cross-ethnic migrant solidarity. Revealing how migration shapes and is shaped by language and narrative, Migrant Aesthetics casts fiction as vital testimony to past and present colonial, imperial, and structural displacement and violence.
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