“Brilliant . . . The dean of American comic writers showcases his varied talents mocking the public and private lives of politicians, average citizens and himself.”— The Star-Ledger Calvin Trillin has committed blatant acts of funniness all over the place—in The New Yorker, in one-man off-Broadway shows, in his “deadline poetry” for The Nation, in comic novels, and in what USA Today called “simply the funniest regular column in journalism.” Now Trillin selects the best of his funny stuff and organizes it into topics like high finance (“My long-term investment strategy has been criticized as being entirely too dependent on Publishers Clearing House sweepstakes”) and the literary life (“The average shelf life of a book is somewhere between milk and yogurt”). He addresses the horrors of witnessing a voodoo economics ceremony and the mystery of how his mother managed for thirty years to feed her family nothing but leftovers (“We have a team of anthropologists in there now looking for the original meal”). He even skewers deserving political figures in poetry. In this, the definitive collection of his humor, Calvin Trillin is prescient, insightful, and invariably hilarious. “A literary treasure . . . There is only one Calvin Trillin, and if he didn’t exist we would have to invent him.”— The Washington Times “Funny is to Trillin what drinking is to Uncle Jed in Annie Get Your Gun —it’s what he does ‘natur’lly.’ He’s also a lot more than funny. Quite Enough of Calvin Trillin is the twenty-eighth book he’s published over not far short of a half-century, and their range of subjects is remarkable.”—Jonathan Yardley, The Washington Post “Trillin made his reputation over four decades as the author of ‘U.S. Journal’ in the New Yorker [but he] is incapable of resisting the temptation of comedy. The jokes kept on welling up and Mr. Trillin made a parallel reputation as a writer of funny stuff.”— The Economist “Wry, whip-smart, understated, and entertaining.”— The Miami Herald

Kurt Tucholsky was a brilliant satirist, poet, storyteller, lyricist, pacifist, and Democrat; a fighter, lady's man, reporter, and early warner against the Nazis who hated and loathed him and drove him out of Germany after his books were burned in 1933. His contemporary Erich Kaestner called him a "small, fat Berliner," who "wanted to stop a catastrophe with his typewriter." The New York Times hailed him as "one of the most brilliant writers of republican Germany. He was a poet as well as a critic and was so versatile that he used five or six pen names. As Peter Panter he was an outstanding essayist who at one time wrote topical sketches in the Vossische Zeitung, which ceased to appear under the Nazi regime; as Theobald Tiger he wrote satirical poems that were frequently interpreted by popular actors in vaudeville and cabartes, and as Ignatz Wrobel he contributed regularly to the Weltbühne, an independent weekly that was one of the first publications prohibited by the Hitler government." Tucholsky, who occupied the center stage in the tumultuous political and cultural world of 1920s Berlin, still emerges as an astonishingly contemporary figure. As an angry truth-teller, he pierced the hypocrisy and corruption around him with acute honesty. Imagine a writer with the acid voice of Christopher Hitchens and the satirical whimsy of Jon Stewart, combined with the iconoclasm of Bill Maher. That's Tucholsky in a nutshell. Like Hitchens, Tucholsky wrote a mixture of literary essays, social observations, and political commentary. His irony made the line between his "serious writing" and his "entertainments" almost invisible. The fashionable outsider watched the political "center" disappear, and, in the end, he found himself catapulted out of society altogether. His career was sandwiched between the two most deadly events of his century: the bloodbath of World War I and the scourge of Nazism. Just as the first war launched Hemingway's lifelong career as a wounded tough guy with a soft spot for guns and broads, Tucholsky discovered the reflexes of an escape artist. He was equally elusive as a writer. In today's world, a journalist isn't supposed to write plays, and a playwright isn't welcomed as a novelist. But in 1920s Berlin, Tucholsky was dealing with postwar realities that required shouting from the rooftops, and any rooftop would do. Kurt Tucholsky is one of Weimar Germany's most celebrated literary figures, loved by his many readers and hated by the Nazis. The poet, journalist, and satirist who was at the center of the tumultuous political and cultural world of 1920s Berlin still emerges as an astonishingly contemporary figure. But he was more than just an angry truth-teller; he was also one of the funniest satirical writers of his era, depicting everyday lives during the rise of modernity.The iconic translation of Harry Zohn, a literary figure from Vienna himself, presented Tucholsky to an American audience for the first time. Long out of print, Zohn's book is now being republished in a new edition.