Imaginary

Fictional Narratives

Oscar Wilde, “The Importance of Being Earnest: A Trivial Comedy for Serious People” (1895): This is the master witticist's magnum opus. He uses a sharp stick to poke fun at the mores and conventions of Victorian England. 

Garrison Keillor's books:

•   Leaving Home (Penguin, 1990).
•   Garrison Keillor & Jenny Lind Nilsson, The Sandy Bottom Orchestra (Hyperion Books, 1996).
•   Good Poems for Hard Times (Penguin, 2006).
•   Pontoon: A Lake Wobegon Novel (Viking, 2007).
•   Life Among the Lutherans (Augsberg Fortress Publishers, 2009).
•   Pretty Good Joke Book (High Bridge, 6th edition, 2015).
•   The Lake Wobegon Virus: A Lake Wobegon Novel (Arcade, 2020).
•   That Time of Year: A Minnesota Life (Arcade Publishing, 2020).
•   Boom Town: A Lake Wobegon Novel (Prairie Home Productions, 2022).
•   Serenity at 70, Gaiety at 80: Why You Should Keep On Getting Older (Prairie Home Productions, 2021).

Audio:

•   Summer: Stories from the Collection: News from Lake Wobegon
•   Spring: Stories from the Collection: News from Lake Wobegon
•   Faith: Stories from the Collection: More News from Lake Wobegon
•   Plenty of Pretty Good Jokes
•   A Prairie Home Companion: Final Performance

Other works:

• Groucho Marx, Memoirs of a Mangy Lover (Da Capo Press, 2002).
• Penelope Lively, How It All Began: A Novel (Viking, 2012): “. . . an elegant, witty work of fiction, deceptively simple, emotionally and intellectually penetrating, the kind of novel that brings a plot to satisfying closure but whose questions linger long afterward in the reader’s mind.”
• Simon Rich, New Teeth: Stories (Little, Brown and Company, 2021): “A Toddler Detective, Pirate Parents and Other Witty Treats . . .”
• Edmund White, A Saint from Texas: A Novel (Bloomsbury, 2020): “White’s tale is exactly like a stroll through Le Jardin des Tuileries — if the garden had been planted with land mines instead of tulips.”
• Lauren Oyler, Fake Accounts: A Novel (Catapult, 2021) is “an invigorating work, deadly precise in its skewering of people, places and things.”
• Virginia Feito, Mrs. March: A Novel (Liveright, 2021): in this witty psychological thriller, “the final pages are shocking . . . and readers may find themselves tempted to return to the beginning in order to understand just what Feito has so convincingly managed to achieve within her accomplished debut.”
• Joshua Ferris, A Calling for Charlie Barnes: A Novel (Little, Brown and Company 2021): “. . . give him props for finding precisely the right way to meld memoir with satire, to do this with bracing originality and to keep heads spinning from this novel’s first page to its last.”
• Kimberly King Parsons, We Were the Universe: A Novel (Knopf, 2024): “In Kimberly King Parsons’s witty, profane novel, ‘We Were the Universe,’ a young mother seeks to salve a profound loss.”

Poetry

I lost my patronage in Spoon River
From trying to put my mind in the camera
To catch the soul of the person.
The very best picture I ever took
Was of Judge Somers, attorney at law.
He sat upright and had me pause
Till he got his cross-eye straight.
Then when he was ready he said "all right."
And I yelled "overruled" and his eye turned up.
And I caught him just as he used to look
When saying "I except."

[Edgar Lee Masters, “Penniwit, the Artist”]

Other poems:

• Ogden Nash, “A Word to Husbands”

Poetry books:

• Aditi Machado, Emporium (Nightboat, 2020): “'Wordplay' isn’t quite the term for what’s going on here; it’s more like linguistic athleticism.”

Music: Composers, artists, and major works

Wit is defined as mental sharpness and intelligence – a reflection of a full and agile mind. Creating any good music requires that; some music expresses it vividly.

In his three “Razumovsky” string quartets, Op. 59 (1806), Ludwig van Beethoven played with Russian themes, with extraordinary intelligence and understanding. “In his commission, Count Razumovsky’s only specific request of Beethoven was that Russian folk tunes be significantly featured in the music.  Beethoven fulfilled this request in two of the three quartets, but with melodies that are, as he put it, 'real or imitated' Russian themes.” Like a person of great wisdom encountering someone new, Beethoven expanded on those themes in a variety of ways, challenging listeners to keep up with him. Top performances of the three Op. 59 Quartets [No. 7 in F Major (approx. 36-42’), No. 8 in E Minor (approx. 33-39’),  and No. 9 in C Major (approx. 29-34’)], are by: Alban Berg Quartet in 1979, Vermeer Quartet in 1984, Emerson String Quartet in 1996, Pražák Quartet in 2000, Takács Quartet in 2002, Quatuor Sine Nomine in 2005, Quartetto di Cremona in 2018 (No. 1; No. 2; No. 3), Dover Quartet in 2021, and Calidore String Quartet in 2024.

Dmitri Shostakovich, Symphony No. 1 in F Minor, Op. 10 (1925) (approx. 30-35’), displays a droll, characteristically Russian humor from beginning to end. “He owes . . . some of the details of his nose-thumbing, wrong-note humor to Prokofiev, he is fascinated by Mahler and his ways of twisting the tails of commonplaces, and more than once we see Stravinsky’s Petrushka raging in his cell or fixing us with his stare from the top of his master’s booth.” “Nervous tension and sarcastic wit, passion and intelligence, contemplation and action, nobility and banality – all expressed with an economy of means that is simultaneously subtle and direct.” “Shostakovich’s style would continue to develop and mature over the course of his long career, but even in this early work his characteristic sense of humor and intensity of expression are already apparent.” Top performances are conducted by Rodzinski in 1941, Svetlanov in 1966, Haitink in 1981, Neeme Järvi in 1985, Bernstein in 1989 ***, López Cobos in 2001,  Jurowsky in 2006, and Vasily Petrenko in 2015. 

Jazz saxophonist Sonny Rollins could insert new musical themes into his live performances to suit a momentary occasion, such as the time he began playing a riff on “Auld Lang Syne” during a performance of a standard jazz work when new year arrived. He was “able to imbue his solos with wry humor, surprise, brilliant logical form and profound emotion”. When some friends and I saw him perform in Newark a few years ago, when he was well into his seventies, one of my friends remarked that she hoped he could remember the tunes without falling over; I assured her that he could play them at great length, in his sleep. Asleep, Sonny Rollins has more musical acumen and ability than most of us have while awake. Like many great artists, he has carved a remarkably unique path, in. music and in life. Books about Rollins are by Aidan Levy, Eric Nisenson, and Richard Palmer. Live performances are in Europe in 1959, in Denmark in 1965 and 1968, at Jazz Jamboree in 1980, in Tokyo in 1988, and a Vienne in 2011. He has a large body of releases, and a substantial set of playlists. 

Frank Zappa was “one of the most unclassifiable figures in American popular music. A passionate devotee of rhythm and blues, he fused rock with jazz and atonal music. His persona was half angry Beat hipster and half loopy Mad magazine satirist.” His was the “oh, f--- it” humor of the Vietnam-era 1960s, well-oiled with intelligence. He is the subject of quite a few published books. His album titles included “Weasels Ripped My Flesh” (1970) (40’), “Burnt Weeny Sandwich” (1970) (41’), “Sheik Yerbouti” (1979) (72’) and “Everything Is Healing Nicely” (1998) (69’). Here are links to his releases and his playlists. His group, The Mothers of Invention, also boasts a significant set of playlists.

The Bobs was an a capella quartet with a twisted sense of humor, explaining that all of the sounds in their songs came out of an orifice of one of their bodies. “Manhattan Transfer meets Monty Python…Robin Williams meets Bobby McFerrin…J.S. Bach meets Jimi Hendrix: Grammy-nominated vocal acrobats (and certifiable nutjobs), that’s THE BOBS. This original ‘band without instruments’ has been skewering the classics, breaking all the rules and clear-cutting their own unique path in the world of vocal music for over 30 years . . .” Their music was quirky and fun. Here are some live clips. Here is a link to their playlists.

Guitarist and blues singer Doug MacLeod approaches the blues with a keen wit, often poking fun at sentiment. He “is known for his superb songwriting, guitar wizardry, warm soulful vocals, wit and unforgettable live performances. At the heart of this is his knack for storytelling, bringing characters—from the faceless to the legendary—to strikingly real life.” “As a youth he overcame abuse and a crippling stutter by turning to music.” Here are links to his releases, his playlists, and some videos.

In these two piano concerti by Vytautas Bacevičius, the soloist flits in, out and about impishly, while members of the orchestra make offhand remarks:

• Piano Concerto No. 3, Op. 44 (1949) (approx. 27’)
• Piano Concerto No. 4, "Symphonic Concertante," Op. 67 (1962) (approx. 22-26’) 

Other compositions:

• Benjamin Britten, Phantasy Quartet (1932) (approx. 14’): “Britten weaves a pattern of symmetry throughout the piece which first starts in the form of jaunty dotted rhythms played by the strings. The cello in particular is a stand out in the introduction of Phantasy, and is known as one of Britten’s finest instrumentation choices.”
• Derek Bermel, Intonations (2016) (approx. 19’) “is my first multi-movement quartet, inspired in part by the novel ‘The Invisible Man’ by Ralph Ellison. Each movement explores a distinct quality of the human voice, from the breath of harmonica blues to a gospel singer's melodic thread to vocal cadences in hiphop.” 

​​Other albums:

• Potsa Lotsa SL, “Silk Songs for Space Dogs” (2020) (52’)
• Flip Phillips, “Flipenstein” (1981) (62’) is a witty take on “horror” classics.
• Pago Libre & Friends, “Got Hard” (2014) (73’)
• Ben Goldman, “Glen Boldman & The Philadelphia 5” (2018) (39’)
• Joris Roelofs, “Rope Dance: Light-Footed Music for All and None” (2021) (52’) is “a suite of twelve pieces inspired by Nietzsche – ‘by far the most musical of philosophers’ according to Roelofs. It is especially the parable of the tightrope walker in the opening section of ‘Thus Spoke Zarathustra: A Book for All and None’ that has provided him with inspiration for his own ‘Light-Footed Music for All and None’.”

Music: songs and other short pieces

• Paul Simon, “Duncan” (“Just thankin’ the Lord / For my fingers . . .”)
• Paul Simon, “50 Ways to Leave Your Lover” (“And then she kissed me / And I realized she probably was right.”)
• "Weird Al" Yankovic, "Word Crimes" (lyrics)
• Bob Dylan, "Subterranean Homesick Blues" (lyrics)

Visual Arts

• Joan Miró, Harlequin's Carnival (1924-25)
• Amedeo Modigliani, Portrait of Pablo Picasso (1915)
• Amedeo Modigliani, Portrait of Jean Cocteau (1916)
• Honoré Daumier, Baron Jacques-Antoine-Adrien Delort (1773-1846)
• Honoré Daumier, Jean-Marie Fruchard (1788-1872), Deputy (1833)

Film and Stage

• The 1952 version of Oscar Wilde's "The Importance of Being Earnest" is by far the best, and a desert-island, version of this work available on film.
• Annie Hall is Woody Allen’s drily sardonic exposition on life and relationships
• Broadcast News, a look at the people who (used to) provide us information
• Dead of Night, a witty look at murder
• Limitless: “a seductively cynical, sharp-eyed comic fable for an age of greed and speed”
• Love in the Afternoon: watch for the musicians
• The Miracle of Morgan’s Creek: “The ‘miracle’ which sets all things right is a beautiful touch of extravagance that is the liveliest spoof of all.”
• Mr. Hulot’s Holiday, a French satire, giving the audience “an amused affection for human nature”
• A Taxing Woman’s Return: “don’t be deceived” by the film’s “cool, breezy manner”; “it scalds”
• The Thin Man, a film noir: “The film's strong suit is the witty repartee between Nick and Nora Charles, who manage to behave like saucily illicit lovers throughout the film even though they're married.”
• This Is Spinal Tap, a mock documentary about a rock band