“Dying is easy. Comedy is hard”

Those words were supposedly spoken by the actor Sir Donald Wolfit on his deathbed.

When it comes to acting, comedy is far harder to pull off well than tragedy. With tragedy, earnestness will take you a long way. Not so with humor. The elements of comedy are so ephemeral that it is hard to script. We all have had the experience of having laughed uproariously at something and then tried to tell the story to someone else and been confronted with bafflement or a polite smile and been reduced to weakly explaining “You had to be there.” We all know people who can tell a marginally funny story in such a way that it evokes great laughs while others manage to make unfunny even the best comedic material.

This is true with writers too. Anyone who has tried to write anything humorous will immediately sympathize with Wolfit’s sentiment. I suspect that most people who see themselves as writers eventually succumb to the temptation to try their hand at humor, usually with disastrous results. The worst culprits are those newspaper columnists who write on serious topics and once in a while try to write inject some humor. What they usually resort to is satire or parody because, being derivative, such forms require the least originality.

A favorite device of political columnists is to describe some fictional conversation between well-known figures on the topic of the day. The result, unfortunately, is usually cringe-inducing because it is usually so heavy-handed. Even satire and parody require a deft and light touch to pull off but most writers tend towards hamhandedness and overkill. The central humorous conceit that triggered the idea of writing a funny piece usually can be told in just a few lines but it takes a lot of skill to stretch it out over a whole essay, let along a book, and very few writers can do that. Because I love reading humorous writing, I too have succumbed to the temptation to try my hand at it and the results have appeared occasionally on this blog (though some readers might have not have realized the humorous intent!)

It is tempting to want to write humor because the experts make it look so deceptively easy. But the words that seem to have been just tossed off casually hide a lot of hard work. In the case of Wodehouse, he would rewrite repeatedly, trying to get just the right word or phrase, carefully setting up and rearranging scenes, and worrying about the pacing of the plot. If he was dissatisfied with the way a novel was developing, he would sometimes ruthlessly throw everything out and start over. That requires real toughness because it is easy to get attached to one’s words and be loath to throw away weeks or months of hard work.

Good writing of any kind requires repeated rewriting and this is what makes humor so hard. When you are writing a serious piece, it is easy to go back and polish and re-polish, trying to make the point clearer and more effectively, trying to find the correct words and images to convey the central idea.

The reason it is so hard to do this with humor is that an important element of humor is surprise, the sudden appearance of the unexpected. Once the basic joke has been written, it is hard for the writer to go back to revise it and still think of it as funny. And the more one rewrites, the unfunnier it seems to get. This leads to the temptation to overwrite, to adorn the writing with flourishes that makes the humor seem forced.

Just as it takes hard work by a chef with great skill to get the lightness and airiness of a soufflé, the difficulty with comedy is keep it light. I suspect that good humorists have the ability to keep their focus on the central joke and to still see it as funny even after they have rewritten it many times. They are able to keep it light while sharpening it and making it more pointed, while those less skilled tend to weigh it down.

I cannot think of any contemporary novelists who I find to be in the same league of funniness as a Wodehouse. One of the funniest non-novelist writers currently is Dave Barry. His weekly columns in the Miami Herald are consistently good and his many books are a laugh riot. His humor is broader (and coarser) than that of a Wodehouse, funny is a very different way. His quick romp through American history in Dave Barry Slept Here and his travel book on Japan Dave Barry Does Japan are well worth reading. (For a brief excerpt of the latter, see here.)

POST SCRIPT: McCain=Bush in more ways than one

George Bush was notorious for being so insecure that his team would keep out of the audience anyone who looked like they might be even mildly critical of him, even if it was simply on a t-shirt. It looks like McCain is very much like Bush in this regard. At a recent public event, a librarian was threatened with arrest for having a sign that said simply ‘McCain=Bush’.

It is interesting that being identified with the sitting president of your own party is seen as such a threat by the candidate.

The humor of P. G. Wodehouse

There is something very alluring about comedy and humor. Laughter is wonderful. It puts everyone in a good mood, at ease and lowers their defenses. To be able to make other people laugh and be happy is a wonderful talent and people like people who can make them laugh. It is no accident that public speakers often begin with a joke.

I have always enjoyed humor. My earliest childhood influences were the books by Richmal Crompton (author of the William series) and Frank W. Richards (creator of Billy Bunter). As I got older I started reading P. G. Wodehouse, S. J. Perelman, and Stephen Leacock and any other writer I could find in the library who was described as a comic or humorous writer. The comedy writers who appeal to me are those who edge on the absurd and who use the nature of the English language itself as a source for much of their humor.

Of them all, Wodehouse was, and remains, my favorite writer to this day. I have read the classic Jeeves/Wooster and Blandings Castle series many times over. He is the perfect choice for those days when one is feeling blah and nothing appeals to you to do.

Wodehouse’s craftsmanship was so meticulous and his use of language so sublime that his readers did not care that the stock plots were contrived and the characters stereotypical, and that you knew that there would be a happy endings all around in which even the villains were let off lightly. With Wodehouse, the pleasure lay on two levels, the surface one in which one is just carried along by the smoothness of the writing and the frantic pace of events, and below the surface by the appreciation of observing a language master at work.

Take for example, the classic The Code of the Woosters. Bertie Wooster, the rich, idle, none-too-bright narrator once again, through a series of misunderstandings, finds himself in the situation in which Madeline Bassett, a woman whose personality he finds revolting, is convinced that Bertie is madly in love with her. Wodehouse, via Wooster, paints a portrait of this ‘ghastly girl’.

I call her a ghastly girl because she was a ghastly girl. The Woosters are chivalrous, but they can speak their mind. A droopy, soupy, sentimental exhibit, with melting eyes and a cooing voice and the most extraordinary views on such things as stars and daisy chains. I remember her telling me once that rabbits were gnomes in attendance on the Fairy Queen and that the stars were God’s daisy chain. Perfect rot, of course. They’re nothing of the sort.

With those few deft lines, the reader is immediately made aware of what kind of person Madeline is and what the problem is. She is someone who oozes ‘soul’ from every pore, while Bertie has none.

The sappy Madeline, however, loves the equally sappy newt-fancier (and Bertie’s friend) Gussie Fink-Nottle, and they become engaged, leaving Bertie relieved that he is off the hook. But she has told Bertie that if it should ever turn out that her marriage to Gussie should not take place and she can’t have the happiness she desires with Gussie, she will sacrifice herself and at least make Bertie happy by marrying him. This is a prospect he finds alarming to the utmost but he is too chivalrous to tell her that the thought of marrying her gives him the heebie-jeebies. He has his code of behavior and it does not allow him to dump a girl. Many of the Jeeves/Wooster stories center around Jeeves’ strategies to get the girl to dump Bertie.

When Gussie sends Bertie a telegram from Madeline’s country estate saying that the two of them have had a tiff and their engagement is off, an alarmed Bertie quickly rushes to his friend’s aid to try and patch things up. This has happened before in previous books and Bertie’s earlier desperate attempts to reconcile Madeline with Gussie have been seen by her as noble self-sacrificial efforts on Bertie’s part, to put his friend Gussie’s interests above his own, and have only increased Bertie’s esteem in her eyes.

On arrival, Bertie immediately runs into Madeline, who is surprised by his appearance at her home, leading to this priceless bit of dialogue.

“Why did you come? Oh, I know what you are going to say. You felt that, cost what it might, you had to see me again, just once. You could not resist the urge to take away with you one last memory, which you could cherish down the lonely years. Oh, Bertie, you remind me of Rudel.”

The name was new to me.

“Rudel?”

“The Seigneur Geoffrey Rudel, Prince of Blaye-en-Saintonge.”

I shook my head.

“Never met him, I’m afraid. Pal of yours?”

“He lived in the Middle Ages. He was a great poet. And he fell in love with the wife of the Lord of Tripoli.”

I stirred uneasily. I hoped she was going to keep it clean.

“For years he loved her, and at last he could resist no longer. He took ship to Tripoli, and his servants carried him ashore.”

“Not feeling so good?” I said groping. “Rough crossing?”

“He was dying. Of love.”

“Oh, ah.”

“They bore him into the Lady Melisande’s presence on a litter and he had just strength enough to reach out and touch her hand. Then he died.”

She paused, and heaved a sigh that seemed to come straight up from the cami-knickers. A silence ensured.

“Terrific,” I said, feeling I had to say something, though personally I didn’t think the story a patch on the one about the traveling salesman and the farmer’s daughter. Different, of course, if one had known the chap.

I must have read this book at least half-a-dozen times and this passage never fails to make me laugh.

Of course, humor is highly idiosyncratic and what brings one person to tears of laughter can leave another mystified. But if you like humor and have never read any Wodehouse, you owe it to yourself to try him. I suggest starting with The Code of the Woosters and Leave it to Psmith, two of my all-time favorites.

POST SCRIPT: Right wing outrage, part MMCMLXVI

What is it about popular culture that has the right wing in a state of perpetual outrage? The latest target? The Pixar animated film Wall*E.

Collective good versus private profit

One of the clichés of academia which even non-academics know is “publish or perish.” In its most common understanding, it implies that those who publish more are perceived as productive scholars, worthy of recruitment and promotion.

But there are other reasons for publishing. One is to establish priority for one’s ideas. In academia, ideas are the currency that matter and those who have good ideas are seen as creative people. So people publish to ensure that they receive the appropriate credit.

Another reason for publishing is to put the ideas into public circulation so that others can use them and build on them to create even more knowledge. Knowledge thrives on the open exchange of information and the general principle in academia is that all knowledge should be open and freely available so that everyone can benefit from it.

This is not, of course, the case, in the profit-driven private sector where information is jealously guarded so that the maximum profit can be obtained. This is not unreasonable in many cases. After all, without being profitable, companies would go out of business and many of the innovations we take for granted would not occur. So the knowledge is either guarded jealously (say like the formula for Coca Cola) or is patented so that other users have to pay for the privilege of using it.
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What motivates academics

Some time ago the Cleveland Plain Dealer had an article in the business pages that began by noting that when you visit the faculty parking lot of any college campus, you will find very few expensive cars such as Mercedes Benzes, Cadillacs, Porsches, Hummers, and BMWs. The writer made the inference that college professors, while perhaps very smart people in their fields of expertise, were not very smart when it came to managing their money.
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Independence day thoughts

(For this holiday, I am reposting an amalgam of two posts from two years ago.)

Today, being independence day in the US, will see a huge outpouring of patriotic fervor, with parades and bands and flag waving. I thought it might be appropriate to read one of Mark Twain’s lesser known works. I came across it during the run-up to the invasion of Iraq in 2003. I was surprised by the fact that I had never even heard of it before, even though I have read quite a lot of Twain’s work and about Twain himself.

Sometimes great writers reveal truths that are hidden. At other times they reveal truths that are squarely in front of our eyes but which we do not see because we have not asked the right question. Mark Twain’s story The War Prayer fits into the latter category, where he explores the dark underside of the seemingly innocuous act of praying for something.

The idea of the intercessory prayer, where one asks for a favor or blessing for oneself or for a designated group of people, is such a familiar staple of religious life that its wholesomeness is unquestioned. But Twain points out what should have been obvious if we had only thought it through.
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The difficulty of predicting the future

Science fiction writers have it tough. Although it is fun to predict what the world will look like in the future, the track record of success of past works is not great. (A caveat on what follows: I cannot really call myself a science-fiction fan, having read only a scattered sample of this vast genre, so I am expressing views based on a very limited awareness. Those who have read most of this genre may well disagree with my conclusions.)

Whether the future that is envisaged is dark (as in the films Blade Runner or Colossus: The Forbin Project) or somewhat optimistic (as in 2001: A Space Odyssey or the book Rendezvous with Rama), much of the predictions seemed to be focused on architecture, modes of transport, and video communication.
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A mini-Clarke festival

In addition to watching 2001: A Space Odyssey recently, I also indulged in a personal mini-Arthur C. Clarke festival, re-reading his novels Childhood’s End and Rendezvous with Rama, and reading for the first time his short story The Sentinel that contains as its central idea a key plot element that reappeared in 2001.

One of the interesting things about Clarke’s books is how for him, it is the science that is the most interesting element. That, and his vision of what future society will be like, are what moves his stories along. He tends to eschew traditional storytelling devices such as love, intrigue, violence, and all the other strong emotional factors. His stories focus less on fleshing out the characters and more on how normal human beings might react when they encounter an astounding new piece of information, such as making contact with intelligent life from elsewhere in space.
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2001: A Space Odyssey

The American Film Institute recently ranked the top ten films in each of ten genres. All such ‘best of’ rankings are, of course, just for fun and meant to provoke vigorous debate about films that did not make the cut as well as the unworthy ones that did. They are not meant to be taken more seriously than that. I was puzzled, however, as to why comedies were not included as a separate genre, the closest category being the vaguer ‘romantic comedies.’ The omission of musicals as a genre was also puzzling. Maybe those lists will come out later.
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The difference between human and other animal communication

In his book The Language Instinct (1994) Steven Pinker pointed out two fundamental facts about human language that were used by linguist Noam Chomsky to develop his theory about how we learn language. The first is that each one of us is capable of producing brand new sentences never before uttered in the history of the universe. This means that:

[A] language cannot be a repertoire of responses; the brain must contain a recipe or program that can build an unlimited set of sentences out of a finite list of words. That program may be called a mental grammar (not to be confused with pedagogical or stylistic “grammars,” which are just guides to the etiquette of written prose.)

The second fundamental fact is that children develop these complex grammars rapidly and without formal instruction and grow up to give consistent interpretations to novel sentence constructions that they have never before encountered. Therefore, [Chomsky] argued, children must be innately equipped with a plan common to the grammars of all languages, a Universal Grammar, that tells them how to distill the syntactic patters out of speech of their parents. (Pinker, p. 9)

Children have the ability to produce much greater language output than they receive as input but it is not done idiosyncratically. The language they produce follows the same generalized grammatical rules as others. This leads Chomsky to conclude that (quoted in Pinker, p. 10):

The language each person acquires is a rich and complex construction hopelessly underdetermined by the fragmentary evidence available [to the child]. Nevertheless individuals in a speech community have developed essentially the same language. This fact can be explained only on the assumption that these individuals employ highly restrictive principles that guide the construction of grammar.

The more we understand how human language works, the more we begin to realize how different human speech is from the communication systems of other animals.

Language is obviously as different from other animals’ communication systems as the elephant’s truck is different from other animals’ nostrils. Nonhuman communication systems are based on one of three designs: a finite repertory of calls (one for warnings of predators, one for claims of territory, and so on), a continuous analog signal that registers the magnitude of some state (the livelier the dance of the bee, the richer the food source that it is telling its hivemates about), or a series of random variations on a theme (a birdsong repeated with a new twist each time: Charlie Parker with feathers). As we have seen, human language has a very different design. The discrete combinatorial system called “grammar” makes human language infinite (there is no limit to the number of complex words or sentence in a language), digital (this infinity is achieved by rearranging discrete elements in particular orders and combinations, not by varying some signal along a continuum like the mercury in a thermometer), and compositional (each of the finite combinations has a different meaning predictable from the meanings of its parts and the rules and principles arranging them). (Pinker, p. 342)

This difference between human and nonhuman communication is also reflected in the role that different parts of the brain plays in language as opposed to other forms of vocalization.

Even the seat of human language in the brain is special. The vocal calls of primates are controlled not by their cerebral cortex but by phylogenetically older neural structures in the brain stem and limbic systems, structures that are heavily involved in emotion. Human vocalizations other than language, like sobbing, laughing, moaning, and shouting in pain, are also controlled subcortically. Subcortical structures even control the swearing that follows the arrival of a hammer on a thumb, that emerges as an involuntary tic in Tourette’s syndrome, and that can survive as Broca’s aphasic’s only speech. Genuine language . . . is seated in the cerebral cortex, primarily in the left perisylvian region. (Pinker, p. 342)

Rather than view the different forms of communication found in animals as a hierarchy, it is better to view them as adaptations that arose from the necessity to occupy certain evolutionary niches. Chimpanzees did not develop the language ability because they did not need to. Their lifestyles did not require the ability. Humans, on the other hand, even in the hunter-gatherer stage, would have benefited enormously from being able to share kind of detailed information about plants and animals and the like, and thus there could have been an evolutionary pressure that drove the development of language.

Human language was related to the evolution of the physical apparatus that enabled complex sound production along with the associated brain adaptations, though the causal links between them is not fully understood. Did the brain increase in size to cope with rising language ability or did the increasing use of language drive brain development? We really don’t know yet.

The argument against a linguistic hierarchy in animals can be seen in the fact that different aspects of language can be found to be best developed in different animals.

The most receptive trainee for an artificial language with a syntax and semantics has been a parrot; the species with the best claim to recursive structure in its signaling has been the starling; the best vocal imitators are birds and dolphins; and when it comes to reading human intentions, chimps are bested by man’s best friend, Canis familiaris. (Pinker, PS20)

It seems clear that we are unlikely to ever fully communicate with other species the way we do with each other. But the inability of other animals to speak the way we do is no more a sign of their evolutionary backwardness than our nose’s lack of versatility compared to the elephant’s trunk, or our inability to use our hands to fly the way bats can, are signs that we are evolutionarily inferior compared to them

We just occupy different end points on the evolutionary bush.

POST SCRIPT: But isn’t everyone deeply interested in golf?

If you want yet more reasons why TV news is not worth watching . . .