By Bob Odenkirk
Bob Odenkirk is a legend within the comedy-writing global, profitable Emmys and popularity of his paintings on Saturday evening reside, Mr. express with Bob and David, and plenty of different seminal television exhibits. This booklet, his first, is a spleen-bruisingly humorous omnibus that levels from absurdist monologues (“Martin Luther King, Jr’s Worst Speech Ever”) to deliberately undesirable theater (“Hitler ceremonial dinner: A Play”); from avant-garde fiction (“Obituary for the author of Madlibs”) to free-verse poetry that's funnier and extra strong than the paintings of Calvin Trillin, Jewel, and Robert Louis Stevenson combined.
Odenkirk's debut resembles not anything loads as a hilarious new comic strip comedy convey that’s completely to be had as a streaming video in your brain. As Odenkirk himself writes in “The moment Coming of Jesus and Lazarus,” it's a booklet “to be learn aloud to your self within the voice of Bob Newhart.”(less)
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Extra info for A Load of Hooey
Still, his TV character was a consciously toned down, more realistic persona that fit a "cooler" medium relying on relatively more audience involvement, a la Marshall McLuhan's famous distinction. An overly demonstrative performer, such as the movie Groucho, suited the "hot'' motion-picture medium, with its high-definition, information-laden image, but would not have worn as well on television. Page 7 A final shared tie between Fields and Marx (and the foundation upon which the preceding three comparisons are built) is a shared late-nineteenth-century upbringing that paralleled both the heyday of the P.
The female-dominated Porter has much in common with future antiheroic husbands, especially those in the world of James Thurber and W. C. Fields. But the difference here is that while Thurber and Fields's henpecked focus character has no defense (beyond fantasy), supporting-character Porter has story-star Slick to change things. Interestingly, the physical violence visited upon Mrs. Porter is often reversed in the later antihero world, where milquetoast husband after husband cowers before the wife who dominates him and who is frequently made all the more comically threatening by wielding a tree-trunk-sized rolling pin.
An additional case for the huckster uniqueness of this Thorpe essay is the setting that it shares with Melville's later, all-important The Confidence-Man. Both works open on a Mississippi riverboat bound for New Orleans, with the promise of a colorful passenger list. Though this is a connection one might make between many works of the period, Thorpe's piece (while decidedly more upbeat than Melville's) has a world-of-the-con-artist aura about it distinctly prescient of the later novel. And despite the modest length of Thorpe's essay, it includes additional bits and pieces that further prefigure Melville's book.
A Load of Hooey by Bob Odenkirk