Humorists
From Hogarth to Noel Coward
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- 10,99 €
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- 10,99 €
Publisher Description
“It is Johnson’s gift that he can make his subjects human and fallible enough that we would…recognize them instantly, while also illuminating what made them heroes.” —Washington Post Book World on Heroes
“Johnson is a clear, intelligent, forceful writer, and nothing if not thorough.” —Wall Street Journal
Paul Johnson, the acclaimed author of Creators, Heroes, and the New York Times bestseller Intellectuals, returns with a captivating collection of biographical portraits of the Western world’s greatest wits and humorists. With chapters dedicated to history’s sharpest tongues and most piercing pens, including Benjamin Franklin, Toulouse-Lautrec, G.K. Chesterton, Damon Runyan, W.C. Fields, the Marx Brothers, and many more, Johnson’s Humorists is an exciting compendium of our most enduring comical and satirical innovators.
PUBLISHERS WEEKLY
British historian Johnson (Churchill) misses the mark with this odd collection of biographical snapshots of "humorists" the term is debatable throughout Western history. Noting that laughter was first recorded in words in chapter 18 of the book of Genesis, Johnson divides humorists into two categories: those who create chaos for laughs and those who analyze the inherent oddness of individual personalities to find comedy. But instead of using this basic rubric and all points of intersection to explore the evolution of humor from the 18th century to our current one, Johnson's portraits of these so-called humorous men (Nancy Mitford is the only woman, and she shares a chapter with No l Coward) lose any sense of a central thesis. Particularly in the cases of painters Hogarth, Thomas Rowlandson, and Toulouse-Lautrec, Johnson's intense focus on minute details of works not reproduced in the text make his analysis difficult to grasp for readers unfamiliar with the artists' work. Chapters devoted to Charlie Chaplin, Laurel and Hardy, the Marx Brothers, and James Thurber are among the best, and in them Johnson is able to stifle his urge to overanalyze the biographical elements and let the subjects and their amazing comedic work speak for themselves.
