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"A hilarious and insightful collection of essays exploring imposter syndrome, from the inside and out, by the most successful fraud in comedy Aparna Nancherla is a superstar comedian on the rise-a darling of Netflix and Comedy Central's comedy special lineups, a headliner at comedy shows and music festivals, a frequenter of late night television and the subject of numerous profiles, all while co-hosting a regularly sold-out comedy show. She's also a successful actor who has written a barrage of thoughtful essays published by the likes of the New York Times. If you ask her, though, she's a total fraud. She'd hate to admit it, but no one does imposter syndrome quite like Aparna Nancherla"--

Women comedians --- Actresses --- Nancherla, Aparna.

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Hannah Gadsby always dreamt of being a cool kid but she had to accept that, just like her childhood dream of being a dog, 'normal' isn't always possible. In the vein of David Sedaris, Hannah's memoir is a string of stories that draws together the varied funny and sometimes dark events of her life, compelling readers to understand the damage society can visit upon those (like Hannah) who find themselves on the outside.

Women comedians --- Television actors and actresses --- Lesbians --- Femmes comiques --- Lesbiennes --- Lesbians. --- Television actors and actresses. --- Women comedians. --- Gadsby, Hannah.

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Women in comedy have traditionally been pegged as either “pretty” or “funny.” Attractive actresses with good comic timing such as Katherine Hepburn, Lucille Ball, and Julia Roberts have always gotten plum roles as the heroines of romantic comedies and television sitcoms. But fewer women who write and perform their own comedy have become stars, and, most often, they’ve been successful because they were willing to be funny-looking, from Fanny Brice and Phyllis Diller to Lily Tomlin and Carol Burnett. In this pretty-versus-funny history, women writer-comedians—no matter what they look like—have ended up on the other side of “pretty,” enabling them to make it the topic and butt of the joke, the ideal that is exposed as funny. Pretty/Funny focuses on Kathy Griffin, Tina Fey, Sarah Silverman, Margaret Cho, Wanda Sykes, and Ellen DeGeneres, the groundbreaking women comics who flout the pretty-versus-funny dynamic by targeting glamour, postfeminist girliness, the Hollywood A-list, and feminine whiteness with their wit and biting satire. Linda Mizejewski demonstrates that while these comics don’t all identify as feminists or take politically correct positions, their work on gender, sexuality, and race has a political impact. The first major study of women and humor in twenty years, Pretty/Funny makes a convincing case that women’s comedy has become a prime site for feminism to speak, talk back, and be contested in the twenty-first century.

Women comedians --- Feminine beauty (Aesthetics) --- Racism --- Ideal beautiful women --- Aesthetics --- Women in art

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African American wit and humor. --- African American women --- African American women comedians. --- Comedy --- Social life and customs. --- Political aspects.

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Women and Comedy: History, Theory, Practice brings together leading researchers from Canada, the United States, and Europe in an interdisciplinary collection of essays to chart the future of critical inquiry in gender and comedy studies.

Comic, The. --- Women comedians. --- Comedy. --- Comic literature --- Literature, Comic --- Drama --- Wit and humor --- Comediennes --- Actresses --- Comedians --- Ludicrous, The --- Ridiculous, The --- Comedy --- Comique. --- Comédie. --- Femmes comiques.