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Oregon Humanities: Spring 2012

Funny Is All I Got
The shocking true story of a lifelong humor abuser and the trail of thoughtless amusement left in his wake

This is serious: if it weren’t for funny, I’d have nothing. Funny is all I got. Everything good that has ever happened to me, from my emergence as, you know, a sentient being up until right now, is the result of two cosmic forces of limitless power: dumb luck and funny. And, really, it’s just dumb luck that I’m funny.

I didn’t plan to be funny. I planned to be a world-class athlete who looked like Pierce Brosnan and divided my time between writing fabulously-popular-yet-critically-acclaimed novels, fronting a mega-platinum rock band, and winning Wimbledon. And ending world hunger and war. Look how that turned out.

Maybe I grew up in the wrong neighborhood. Maybe I just got involved with the wrong crowd. Maybe I said something one day in kindergarten, and some thoughtless fingerpaint-stained urchin laughed, and some flaw in the ion transfer between my neurons was triggered, and that was it—I was hooked on H (that’s the street name for humor, for the more sheltered readers out there). No more Twinkies and naptime for me, it was all just funny, funny, funny.

When all the good students were studying the Spanish-American War, I was making jokes. Of course, the teachers were too embarrassed by my behavior to speak directly about it. They turned to timeworn euphemisms like “Talks too much in class” and “He’s a snotty little puke.” But I knew what they meant and I didn’t care. I was funny, and that’s all I was ever going to be.

And here’s the shocker: I was more popular than the kids who knew all about the Spanish-American War! I was as popular as the good-looking, athletic kids! At the same time that society huffed disdainfully at me and my frivolous and dangerous embrace of h-u-m-o-r, that same society secretly encouraged and rewarded me! Funny was useful. It could get you things you could never get on your own.

Sure, maybe I didn’t really deserve those things, but what can I say? I was weak. I could sit there, sniveling, and watch the cheerleaders go out with the Pierce Brosnan-looking guys with the chiseled jaws, or I could step up with the witty banter and the charming asides and get my share. Later in life, I could shrink back, sniveling, and let the work and the moola go to people who knew what they were doing and had talent, or I could jump in, get the people in the conference room laughing, believing they liked me, and steal the business away. You know my choice.

So, in a serious and essay-like way, I want to reveal how people like me use funny to get their way and reach their nefarious ends.

First, let’s place funny in context. I’d define it for you, but I can’t. You can’t either. Well, you could, but what would be the point? Or, in the somewhat more graceful words of E. B. White, “Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.”

Humor has, in fact, been studied scientifically for a long time. Numerous organizations are devoted to it, from the International Society for Humor Studies to the American Humor Studies Association to the Association for Applied and Therapeutic Humor. These groups are filled with learned, literate individuals from around the world. My guess is that none of them are funny.

Humor has also been viewed in a religious context: “God is a comedian playing to an audience too afraid to laugh,” Voltaire once said. And amateur theologian and well-known produce abuser Gallagher is fond of pointing to his bald head and asking, “Is this the work of a serious artist?”

Noted wag Immanuel Kant (the Critique of Pure Reason was laugh-out-loud stuff) formulated his Incongruity Theory, which claimed that what is comic is an expectation that comes to something unexpected, or even nothing. Which describes most of my dates in high school—but is more clearly demonstrated by the following example: “So, a dyslexic walks into a bra…”

But defining humor is not my goal. The point is that funny is as valuable a strategy for making one’s way through life as smart. Funny is almost as useful as good-looking. Although it is not nearly as useful as rich.
I certainly hope none of that sounds cynical. As Lily Tomlin said, “No matter how cynical you get, it is impossible to keep up.” (I don’t know how that quote relates, I just like it.) I’m not cynical; I’m realistic. I have personally and empirically proven all the preceding tenets. Let’s analyze them further:

Funny vs. smart. Smart is good. You have to have some smart people so stuff works. For example, say you are designing and building a new jetliner. Do you want it done by smart people—”The ailerons seem to be channeling laminar flow quite judiciously”—or funny people—”Ha, ha! The wing fell off”? But in everyday life, funny is just as useful as smart. Here’s why: it takes other smart people to understand smart, but even people with the brainpower of a sea cucumber can usually understand some form of funny. So you have a much larger target audience. And another benefit: try to be smart and fail and you will look a fool. Fail trying to be funny and at least no one will be laughing at you.

Now, as noted, funny is not quite as useful as good-looking. But it has a longer shelf life. And you can do almost as well with it at any age. For example, I don’t rate as burlap-bag-_I-am-not-an-animal!-children-run-screaming material, but no one with remotely functional vision and a modicum of light on the subject would mistake me for the aforementioned Mr. Brosnan. And yet, against all logic, I have enjoyed the company of some very attractive female people. Quite often out of my league, as they say. Why? _Funny. Funny is attractive. Funny can sometimes overcome even deal-breakers like partial baldness. (But not back hair. No one is that funny.) And when good-looking people get to be, say, ninety-three years old, they will no longer be good-looking, but they can still be funny. Sometimes even on purpose.

Funny vs. rich. Clearly, rich is much more useful. Rich trumps funny and smart and good-looking and just about everything else, including justice, the middle class, pollution controls, etc. Rich turns crazy to eccentric and old to distinguished and mean to self-assured. You can get rich by being funny (the Cosby Corollary), but you can’t get funny by being rich (although everyone will laugh at your jokes, or you can have them killed).

Indeed, funny is a useful weapon in the bloodthirsty video game of modern life. So how do people like me use funny to manipulate and control the good people of this world? From the simple snicker to the grand guffaw, we use the genetically programmed primate vocalization called laughter to disrupt your breathing, weaken your defenses, and, in the most egregious cases, cause you to pee your pants. If you chuckle, we almost have you. If you cackle, we own you. If you splurt out any form of beverage through your nasal passages, you might as well give us your firstborn (who, by the way, will begin laughing as soon as seventeen days after birth).

Neurophysiology tells us that laughter is linked to the activation of the ventromedial prefrontal cortex (but then, what isn’t?), leading to the production of endorphins. So I’m a sort of natural drug pusher. I gain my unfair power over women and bullies and clients by shooting them up with a potentially contagious endorphin fix. I’ve even done it with schoolchildren and elderly ladies. I should feel bad about that, but it’s too late for me. I just (insert evil music here) laugh.

Some people are born with a neurological condition that makes them unable to laugh out loud. It is called “aphonogelia”—or being a conservative Republican. And several people have died from laughing. It can happen from respiratory failure or cardiac stress. In the third century BCE, Greek philosopher Chrysippus died of laughter after giving wine to his donkey and watching it try to eat figs. (This incident, somehow, must explain the popularity of Judd Apatow movies.) Much more recently, in 2003, a Thai ice-cream salesman reportedly started laughing in his sleep, wouldn’t wake up, and passed away. There is definitely a joke there, but it’s just too obvious for such a high-toned rag as this.

Now even a person such as me, willing to use funny wherever and whenever to get what I want, would probably feel badly if something I said killed someone. But at least I could rationalize that their last thoughts were happy ones! Am I fooling myself? I think not: In the 1970s, a fifty-two-year-old bricklayer died of laughter—he was watching an episode of the British TV show The Goodies, featuring a kilt-clad Scotsman who used his bagpipes to battle a large and exceptionally vicious black pudding. Later, the man’s widow sent the producers a letter thanking them for making his final moments so pleasant! Stiff upper lip for the stiff, what?

In conclusion, funny is incredibly useful for those of us willing and able to use it without shame or restraint. As noted, it’s all I got. Beware of people like me. All is not what it seems. Always remember the two cannibals who were eating a comedian: one looked at the other and asked, “Does this taste funny to you?” You’ve been warned.

Commentary

Todd,

Thanks for the hernia.

If I lost my funny, where would I go to get it back?

I was the kind of high school girl that my male classmates feared and desired, but mostly never spoke to: a pretty, funny, smart girl. I was shy, but I still scared the piss out of them; not a good conversation-starter for most adolescent males.

Fast forward about 40 years, and I’m still smart, a bit well-upholstered but still mostly pretty, and not so funny. I lost my funny about 2 years ago when I lost my job, my alarmingly funny brother, and my brilliantly funny mother, all in the space of about 18 months. Oh, yes - I forgot the part about the charming sociopath I nearly married. He wasn’t funny.

If you have any clues about where my funny went or how to get it back, I’d be grateful if you would share them.

.(JavaScript must be enabled to view this email address) | 16 Mar at 03:44 PM

Jane,

My guess is that, even after all of that, your funny isn’t lost, it’s just misplaced. Check the junk drawer in the kitchen or the pockets of your summer clothes. I once found my funny in the refrigerator, behind a jar of Miracle Whip from 1985.

Look around, you’ll find it. And the cool thing is, when do find it you’ll be ruefully, intelligently funny, which is the best kind.

.(JavaScript must be enabled to view this email address) | 17 Mar at 02:30 PM

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Eric Gold

Eric Gold is a freelance writer in Portland and regular contributor to Oregon Humanities.

Kristy Athens

Kristy Athens’ nonfiction and short fiction have been published in a number of magazines, newspapers, and literary journals, most recently High Desert Journal, Eclectic Flash, Diverse Voices Quarterly, and Five Fishes Journal.

Rich Wandschneider

Rich Wandschneider was the founding director of Fishtrap, a literary nonprofit in eastern Oregon, and is now building the Alvin Josephy Library of Western History and Culture at Fishtrap. He writes a regular newspaper column and has written for the Oregonian, High Desert Journal, High Country News, and others. He is on the editorial advisory board of this magazine and on the board of directors for Oregon Humanities.

Ellen Santasiero

Ellen Santasiero is a freelance writer whose work has appeared in Northwest Review, The Sun, Marlboro Review, Oregon Humanities, and in a recent anthology from the University of Oklahoma Press. She is at work on a memoir.  

Caroline Cummins

Caroline Cummins is the managing editor of Culinate.com.

Jedidiah Chavez

Jedidiah Chavez is a visual artist and writer based in Portland. His work has been showcased in a variety of venues nationally and in the Pacific Northwest. Chavez was awarded a 2010 project grant by the Regional Arts and Culture Council.

Kristin Kaye

Kristin Kaye is a Portland-based writer. Her book, Iron Maidens, was an Oregon Book Awards finalist. She has recently completed her novel To Catch What Falls.

Lucy Burningham

Lucy Burningham is an independent writer and journalist who lives in Portland. She holds a master’s degree in nonfiction writing from Portland State University.

Eric Gold

Eric Gold is a freelance writer in Portland and former communications assistant at Oregon Humanities.

Sarah Gilbert

Sarah Gilbert is writing a book about mothers looking for emotional healing in food. In February, she decided to begin homeschooling her eldest son.

Courtney S. Campbell

Courtney S. Campbell is the Hundere Professor of Religion and Culture at Oregon State University. You can try friending him through his Facebook page.

Barry Johnson

Barry Johnson has written about the arts since 1978 when he started writing about dance for the now-defunct Seattle Sun. He has edited arts sections at Willamette Week and The Oregonian, where he recently finished a twenty-six-year stint. You can find his up-to-the-minute thoughts on the arts at http://artsdispatch.blogspot.com.

Dionisia Morales

Dionisia Morales is a freelance writer and teaches writing at Linn-Benton Community College. Her essays have recently appeared or are forthcoming in CAYLX, Brevity, Cream City Review, and Silk Road.

Wendy Willis

Wendy Willis is a poet, Conversation Project leader, and the executive director of the Policy Consensus Initiative and the deputy director for Research and Development at the National Policy Consensus Center at Portland State University. Her book of poems, Blood Sisters of the Republic, is forthcoming from Press 53 in fall 2012.

Carl Abbott

Carl Abbott is professor of urban studies and planning at Portland State University. A specialist on the history of cities, his recent books include Frontiers Past and Future: Science Fiction and the American West and Portland in Three Centuries: The Place and the People.

Monica Drake

Monica Drake is the author of Clown Girl (Hawthorne Books),which was optioned for film by Kristen Wiig. Her next novel, The Stud Book, is forthcoming from Hogarth Press in February 2013.

Tara Rae Miner

Tara Rae Miner is a writer and freelance writer and editor, former managing editor of Orion magazine, and author of Your Green Abode: A Practical Guide to a Sustainable Home. She lives with her family in Portland.

John Holloran

John Holloran lives in Portland and teaches at Oregon Episcopal School. His last essay for Oregon Humanities was “After the Fall” (Spring 2011).

Rebecca Hartman

Rebecca Hartman is an associate professor of history at Eastern Oregon University. She received her PhD in history from Rutgers University in 2004. Her current research is focused on twentieth-century U.S. rural history.

Dmae Roberts

Dmae Roberts is an award-winning independent radio producer and writer based in Portland.

Jennifer Ruth

Jennifer Ruth is a professor of English literature at Portland State University and the author of Novel Professions, a book of literary criticism.

Richard J. Ellis

Richard J. Ellis is the Mark O. Hatfield Professor of Politics at Willamette University. In 2008 he was named Oregon Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and in 2007 he was chosen as Oregon Scientist of the Year by
the Oregon Academy of Science. His book The Development of the American Presidency is forthcoming from Routledge in January 2012.

Leigh van der Werff

After ten years in Oregon, Leigh van der Werff now lives in central California, where she runs a record store with her husband and their dog, Edgar. When she’s not at the shop, she’s writing essays and music criticism.

Joanne Mulcahy

Joanne Mulcahy teaches creative nonfiction and humanities classes at the Northwest Writing Institute at Lewis & Clark College in Portland, where she is codirector of the Documentary Studies Certificate Program. Her writing combines memoir and personal essay with ethnographic exploration. Her book Remedios: The Healing Life of Eva Castellanoz was published by Trinity University Press in 2010.

Marion Goldman

Marion Goldman has passed through the social worlds of Rajneeshees, Jesus People, and Nevada prostitutes. In her latest book, The American Soul Rush (forthcoming in December 2011), she describes how a small group of 1960s seekers at California’s Esalen Institute cultivated and spread spiritual alternatives ranging from transpersonal psychology to yoga to Zen golf. She is professor of sociology and religious studies at the University of Oregon.

Guy Maynard

Oregon Humanities editorial advisory board member Guy Maynard is the editor of Oregon Quarterly, the magazine of the University of Oregon, and the author of The Risk of Being Ridiculous, a historical novel of love and revolution set in Boston in the the late 1960s, into which he managed to slip several Red Sox references. He lives in Eugene.

Kambiz GhaneaBassiri

Kambiz GhaneaBassiri is an associate professor of religion and humanities at Reed College in Portland. He is the author of A History of Islam in America (from which this selection is excerpted) and Competing Visions of Islam in the United States. He was also a faculty member at the Oregon Humanities Teacher Institute in July 2011.

Tim DuRoche

Tim DuRoche is a writer, jazz musician, artist, and cultural advocate. He works as the director of programs for the World Affairs Council of Oregon. Tim hosts the The New Thing, a weekly jazz program on KMHD-89.1 FM in Portland, is currently developing a program on jazz and community values for Oregon Humanities’ Conversation Project, and is the author of the recently published collection of essays, Occasional Jazz Conjectures.

Walidah Imarisha

Walidah Imarisha is a founding editor of AWOL, a national political hip hop magazine and has toured nationally and internationally as part of the poetry duo Good Sista/Bad Sista. She has taught in Portland State University’s Black studies department and leads three Conversation Project programs for Oregon Humanities on hip hop, the history of race in Oregon, and reenvisioning the prison system.

Kim Stafford

Kim Stafford is the founding director of the Northwest Writing Institute at Lewis & Clark College and author of a dozen books of poetry and prose, including The Muses Among Us: Elegant Listening and Other Pleasures of the Writer’s Craft. This essay is a section from his book-in-progress, 100 Tricks Every Boy Can Do.

Debra Gwartney

Debra Gwartney is the author of the 2009 memoir Live Through This, which was a finalist for the National Book Critics Circle Award, the Oregon Book Award, and the PNBA award. She is currently working on a memoir about growing up in the West and the heritage of Narcissa Whitman, a project for which she received a research grant from the American Antiquarian Society. Debra lives on the McKenzie River with her husband, Barry Lopez, and is on the nonfiction faculty at Pacific University.

Susan Meyers

After growing up selling corndogs and cotton candy at carnivals up and down the West Coast, Susan Meyers extended her gypsy lifestyle by spending several years in Latin American before coming home to the Pacific Northwest. Her work has recently appeared in CALYX, Dogwood, Terra Incognita, and The Minnesota Review, and it has been the recipient of several awards, including a Fulbright Fellowship. She teaches writing at Oregon State University.

Matthew Stadler

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Amanda Waldroupe

Amanda Waldroupe is a freelance journalist living in Portland. Whenever she fails, she buckles down and tries, tries again.

John Holloran

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Todd Schwartz

Todd Schwartz is in reality a very serious and reserved person who divides his time between being a Calvinist minister and a funeral home director. Wait…wait! A funeral home director and a Calvinist minister walk into a bar…

Scott Nadelson

Scott Nadelson’s most recent book is The Cantor’s Daughter. A new collection of his short fiction, Aftermath, is forthcoming from Hawthorne Books in Fall 2011. He teachers creative writing at Willamette University. His latest essay for Oregon Humanities was “Go Ahead and Look” (Spring 2010)

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Courtenay Hameister is the host and head writer of LiveWire Radio, the co-creator of “Road House: The Play!,” a screenwriter and filmmaker. In her spare time, she likes to imagine what it would be like to have more spare time.

Ariel Gore

Ariel Gore is the author of seven books including Bluebird: Women and the New Psychology of Happiness (Farrar, Straus and Giroux, 2010), from which this selection is excerpted. She is also the founding editor of Hip Mama, and editor of the Lambda-award-winning anthology Portland Queer. She teaches creating writing online at the University of New Mexico and The Attic in Portland.

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Bob Bussel

Bob Bussel is associate professor of history and director of the Labor Education and Research Center at the University of Oregon. He has published numerous articles on labor history and contemporary labor issues, including a history of the Oregon Bureau of Labor and Industries. He is currently working on a book about working-class citizens.

Dave Weich

Dave Weich is the president of Sheepscot Creative. The Portland-based company fosters engaging and profitable communication among businesses, consumers, colleagues, and fans. Weich is on the editorial advisory board of Oregon Humanities magazine.

Camela Raymond

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Scott Nadelson

Scott Nadelson’s most recent book is The Cantor’s Daughter. He teaches creative writing at Willamette University.

Karen Karbo

Karen Karbo‘s three novels, as well as her Oregon Book Award–winning memoir, The Stuff of Life, have all been named New York Times Notable Books of the Year. Her most recent book is The Gospel According to Coco Chanel: Life Lessons from the World’s Most Elegant Woman.

Lisa Radon

Lisa Radon has written about art and design for Portland Spaces (as associate editor), Portland Monthly, Surface Design Journal, SHIFT (Japan), FLAUNT, Hyperallergic, and ultra (ultrapdx.com). She’s written a handful of catalog essays and is working on her first book.

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R. Gregory Nokes has worked as a reporter and editor for the Associated Press and the Oregonian. His reporting about this incident has resulted in a formal designation of the massacre site as Chinese Massacre Cove. He lives in West Linn.

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Christine Dupres is the former director of the Office of Sustainability and Community Engagement at the Native American Youth and Family Center in Portland. She is a freelance writer and an Oregon Humanities board member.

Apricot Irving

Apricot Irving is a writer and radio producer whose most recent project, Boise Voices Neighborhood Oral History Project , brought together elders and youth in Northeast Portland. She has lived in Haiti, Indonesia, and the United Kingdom, but currently calls Portland home.

Lucy Burningham

Lucy Burningham is an independent writer and journalist who lives in Portland. During the past decade, she has traveled on assignment for a variety of newspapers, magazines, and Lonely Planet guidebooks. She holds a master’s in nonfiction writing from Portland State University.

Vicente Martinez

Vicente Martinez lives in Portland and works at a fast food restaurant.

Susan W. Hardwick

Susan W. Hardwick is a professor of geography at the University of Oregon. Her research and teaching focus on the geography of immigration, identity, and place in the Pacific Northwest. She is the author or co-author of nine books, including Russian Refuge: Religion, Migration, and Settlement on the North American Pacific Rim (University of Chicago Press, 1993). This article is adapted from Hardwick’s Commonplace Lecture that she delivered for Oregon Humanities in 2007.

Sarah Gilbert

Sarah Gilbert is a writer and photographer who lives in Portland with her husband and three little boys. She writes about food and finance for several web sites, including DailyFinance, WalletPop and Culinate, is cofounder of the Portland parenting resource urbanMamas.com, and keeps a blog, cafemama.com.

Kevin Nute

Kevin Nute is a professor of architecture at the University of Oregon. He is the author of the American Institute of Architects award-winning monograph, Frank Lloyd Wright and Japan (1993) and Place, Time and Being in Japanese Architecture (2004).

Brian Doyle

Brian Doyle is the editor of Portland Magazine at the University of Portland, and the author most recently of Thirsty for the Joy: Australian & American Voices, from One Day Hill Press in Melbourne, Australia.