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A good poetry collection has a tender soul that deals with survival, violence, love, and loss using the frailty of language. Milk and Money, the unauthorized parody of the bestselling Milk and Honey, is none of these things, but it sure is hilarious.A good poetry collection has a tender soul that deals with survival, violence, love, and loss using the frailty of language. Milk and Money, the unauthorized parody of the bestselling Milk and Honey, is none of these things, but it sure is hilarious.

A sequel of sorts to the classic (and bestselling) sendup of literary criticism, The Pooh PerplexPurporting to be the proceedings of a forum on Pooh convened at the Modern Language Association's annual convention, Postmodern Pooh brilliantly parodies the academic fads and figures that hold sway at the millennium. Deconstruction, poststructuralist Marxism, new historicism, radical feminism, cultural studies, recovered-memory theory, and postcolonialism, among other methods, take their shots at the poor teddy bear and Crews takes his shots at them. The fun lies in seeing just how much adulteration Pooh can stand.

This is an English-language anthology dedicated to the short stories of Kurahashi Yumiko (1935-), a Japanese novelist of profound intellectual powers. The eleven stories included in this volume suggest the breadth of the author's literary production, ranging from parodies of classical Japanese literature to cosmopolitan avant-garde works, from quasi-autobiography to science fiction. Her subversive fiction defies established definitions of "literature", "Japan", "modernity" and "femininity", and represents an important intellectual aspect of modern Japanese women's literature.

Lewis Carroll's Alice in Wonderland (1865) and Through the Looking Glass(1871) are among the most enduring works in the English language. In the decades following their publication, writers on both sides of the Atlantic produced no fewer than two hundred imitations, revisions, and parodies of Carroll's fantasies for children. Carolyn Sigler has gathered the most interesting and original of these responses to the Alice books, many of them long out of print. Produced between 1869 and 1930, these works trace the extraordinarily creative, and often critical, response of diverse writers. These writers -- male and female, radical and conservative -- appropriated Carroll's structures, motifs, and themes in their Alice-inspired works in order to engage in larger cultural debates. Their stories range from Christina Rossetti's angry subversion of Alice's adventures, Speaking Likenesses (1874), to G.E. Farrow's witty fantasy adventure,The Wallypug of Why (1895), to Edward Hope's hilarious parody of social and political foibles,Alice in the Delighted States (1928). Anyone who has ever followed Alice down the rabbit hole will enjoy the adventures of her literary siblings in the wide Wonderland of the human imagination.

This is an English-language anthology dedicated to the short stories of Kurahashi Yumiko (1935-), a Japanese novelist of profound intellectual powers. The eleven stories included in this volume suggest the breadth of the author's literary production, ranging from parodies of classical Japanese literature to cosmopolitan avant-garde works, from quasi-autobiography to science fiction. Her subversive fiction defies established definitions of "literature", "Japan", "modernity" and "femininity", and represents an important intellectual aspect of modern Japanese women's literature.

A parody of ethnic studies looks at the culture, origins, language, courtship customs, foods, fears, and leisure activities of white Americans

Purporting to be the proceedings of a forum on Pooh convened at the Modern Language Association's annual convention, this sequel of sorts to the classic send-up of literary criticism, The Pooh Perplex, brilliantly parodies the academic fads and figures that held sway at the millennium. Deconstruction, poststructuralist Marxism, new historicism, radical feminism, cultural studies, recovered-memory theory, and postcolonialism, among other methods, take their shots at the poor stuffed bear and Frederick Crews takes his well-considered, wildly funny shots at them. His aim, as ever, is true.

Reproduces the lithographs created by a nineteenth-century French caricaturist to parody the language, morals, and courtroom antics of lawyers

"Queen Jane's Version, The Holy Bible for Adults Only" (QJV) is an outrageous parody, chapter and verse, of the King James Version (KJV). Throughout the text, graphic icons flag the most scandalous scriptures, while contemporary language (including epithets and sexually-explicit slang where appropriate) exposes and holds up for ridicule all the flaws, errors, contradictions, debaucheries, atrocities, obscenities, and absurdities that fill the "original" KJV. Though the QJV is often radical, cynical, sarcastic, blasphemous, and bawdy, the purpose of such an approach is to inspire people to live life for life rather than for death, for reality rather than for mind-crippling myth. Subtlety often makes its humor cunningly deceptive, and its variety of writing styles mirrors the many differences of tone and temperament in the "original". As a whole, it is an iconoclastic, biting, often shocking satire that mocks religious hypocrisy and the gullibility of hard-core believers.