The Material
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- Reserva
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- Lanzamiento previsto: 4 jul 2024
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- 9,99 €
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- Reserva
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- 9,99 €
Descripción editorial
'Utterly charming ... Bordas is an invaluable new voice' George Saunders
Every comedian knows that there's a line between sharp and cruel, that sad becomes funny at the right angle, that any moment in life, however painful or triumphant, has the potential to become a punchline. At the Chicago Stand-up School, success is about the material.
But maybe Artie is too handsome to be taken seriously on stage, Olivia too scared to examine her past, and Phil too afraid to cause harm. Their teachers are obsessed with failure: Kruger trying to command his father's respect, Ashbee weary of the way his Blackness attracts a type of white admirer, Dorothy wondering how her talent is connected to her loneliness. Whether a visiting comedian-the famous, controversy-steeped Manny Reinhardt-will do more to help or to harm their cause remains to be seen.
Set over the course of a single day, and shifting exquisitely between several points of view, The Material examines life through the eyes of a band of outsiders bound together by the need to laugh, and the desire to make others laugh even harder.
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Bordas (How to Behave in a Crowd) sets her clever twist on the campus novel at the country's first MFA program for stand-up comedy. Unfolding over a single December day at an unnamed university in Chicago, the narrative begins with a faculty department meeting and progresses to a student workshop. Everyone involved in the program is nervously anticipating the arrival of a controversial guest lecturer, recently disgraced comedy legend Manny Reinhardt. Dorothy, the only female faculty member, hopes to make a comeback in her comedy career, while her colleague Kruger dreams of quitting teaching and ascending to movie stardom. Among the students, Artie fears he's "too good-looking to be funny," while Jo is constantly on the lookout for Andy Kaufman, who she thinks is still alive. A subplot involving reports of an active shooter on campus feels unnecessary; more successful are Bordas's explorations of what a stand-up routine requires of its writer and what, if anything, is off-limits, either because the subject is too offensive or because the material belongs to someone else. Occasional moments of broad comedy, like an embarrassing bathroom scene, spice up the observational humor incorporated throughout. It's a knockout.
