not the vibrant suggestiveness of old American jokes and cartoons.
Our parents reserved a few select jokes, such as “Archibald a Soulbroke,” like vintage wines for extraordinary occasions. We heard about or witnessed those rare moments—maybe three or four in a lifetime—when circumstances combined to float our father to the top of the world, from which precarious eminence he would consent to fling himself into “Archibald a Soulbroke.”
Telling “Archibald a Soulbroke” was for Father an exhilarating ordeal, like walking a tightrope over Niagara Falls. It was a long, absurdly funny, excruciatingly tricky tour de force he had to tell fast, and it required beat-perfect concentration. He had to go off alone and rouse himself to an exalted, superhuman pitch in order to pace the hot coals of its dazzling verbal surface. Often enough he returned from his prayers to a crowd whose moment had passed. We knew that when we were grown, the heavy, honorable mantle of this heart-pounding joke would fall on us.
There was another very complicated joke, also in a select category, which required a long weekend with tolerant friends.
You had to tell a joke that was not funny. It was a long, pointless story about a construction job that ended with someone’s throwing away a brick. There was nothing funny about it at all, and when your friends did not laugh, you had to pretend you’d muffed it. (Your husband in the crowd could shill for you: “’Tain’t funny, Pam. You told it all wrong.”)
A few days later, if you could contrive another occasion for joke telling, and if your friends still permitted you to speak, you set forth on another joke, this one an old nineteenth-century chestnut about angry passengers on a train. The lady plucks the lighted, smelly cigar from the man’s mouth and flings it from the moving train’s window. The man seizes the little black poodle from her lap and hurls thepoor dog from the same window. When at last the passengers draw unspeaking into the station, what do they see coming down the platform but the black poodle, and guess what it has in its mouth? “The cigar,” say your friends, bored sick and vowing never to spend another weekend with you. “No,” you say, triumphant, “the brick.” This was Mother’s kind of joke. Its very riskiness excited her. It wasn’t funny, but it was interesting to set up, and it elicited from her friends a grudging admiration.
How long, I wondered, could you stretch this out? How boldly could you push an audience—not, in Mother’s terms, to “slay them,” but to please them in some grand way? How could you convince the listeners that you knew what you were doing, that the payoff would come? Or conversely, how long could you lead them to think you were stupid, a dumb blonde, to enhance their surprise at the punch line, and heighten their pleasure in the good story you had controlled all along? Alone, energetic and trying to fall asleep, or walking the residential streets long distances every day, I pondered these things.
Our parents were both sympathetic to what professional comedians call flop sweat. Boldness was all at our house, and of course you would lose some. Anyone could be misled by poor judgment into telling a “woulda hadda been there.” Telling a funny story was harder than telling a joke; it was trying out, as a tidy unit, some raveling shred of the day’s fabric. You learned to gauge what sorts of thing would “tell.” You learned that some people, notably your parents, could rescue some things by careful narration from the category “woulda hadda been there” to the category “it tells.”
At the heart of originating a funny story was recognizing it as it floated by. You scooped the potentially solid tale from the flux of history. Once I overheard my parents arguing over a thirty-year-old story’s credit line. “It was my mother who said that,” Mother said. “Yes, but”—Father was downright smug—“I was the one
Our parents reserved a few select jokes, such as “Archibald a Soulbroke,” like vintage wines for extraordinary occasions. We heard about or witnessed those rare moments—maybe three or four in a lifetime—when circumstances combined to float our father to the top of the world, from which precarious eminence he would consent to fling himself into “Archibald a Soulbroke.”
Telling “Archibald a Soulbroke” was for Father an exhilarating ordeal, like walking a tightrope over Niagara Falls. It was a long, absurdly funny, excruciatingly tricky tour de force he had to tell fast, and it required beat-perfect concentration. He had to go off alone and rouse himself to an exalted, superhuman pitch in order to pace the hot coals of its dazzling verbal surface. Often enough he returned from his prayers to a crowd whose moment had passed. We knew that when we were grown, the heavy, honorable mantle of this heart-pounding joke would fall on us.
There was another very complicated joke, also in a select category, which required a long weekend with tolerant friends.
You had to tell a joke that was not funny. It was a long, pointless story about a construction job that ended with someone’s throwing away a brick. There was nothing funny about it at all, and when your friends did not laugh, you had to pretend you’d muffed it. (Your husband in the crowd could shill for you: “’Tain’t funny, Pam. You told it all wrong.”)
A few days later, if you could contrive another occasion for joke telling, and if your friends still permitted you to speak, you set forth on another joke, this one an old nineteenth-century chestnut about angry passengers on a train. The lady plucks the lighted, smelly cigar from the man’s mouth and flings it from the moving train’s window. The man seizes the little black poodle from her lap and hurls thepoor dog from the same window. When at last the passengers draw unspeaking into the station, what do they see coming down the platform but the black poodle, and guess what it has in its mouth? “The cigar,” say your friends, bored sick and vowing never to spend another weekend with you. “No,” you say, triumphant, “the brick.” This was Mother’s kind of joke. Its very riskiness excited her. It wasn’t funny, but it was interesting to set up, and it elicited from her friends a grudging admiration.
How long, I wondered, could you stretch this out? How boldly could you push an audience—not, in Mother’s terms, to “slay them,” but to please them in some grand way? How could you convince the listeners that you knew what you were doing, that the payoff would come? Or conversely, how long could you lead them to think you were stupid, a dumb blonde, to enhance their surprise at the punch line, and heighten their pleasure in the good story you had controlled all along? Alone, energetic and trying to fall asleep, or walking the residential streets long distances every day, I pondered these things.
Our parents were both sympathetic to what professional comedians call flop sweat. Boldness was all at our house, and of course you would lose some. Anyone could be misled by poor judgment into telling a “woulda hadda been there.” Telling a funny story was harder than telling a joke; it was trying out, as a tidy unit, some raveling shred of the day’s fabric. You learned to gauge what sorts of thing would “tell.” You learned that some people, notably your parents, could rescue some things by careful narration from the category “woulda hadda been there” to the category “it tells.”
At the heart of originating a funny story was recognizing it as it floated by. You scooped the potentially solid tale from the flux of history. Once I overheard my parents arguing over a thirty-year-old story’s credit line. “It was my mother who said that,” Mother said. “Yes, but”—Father was downright smug—“I was the one
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