In November of 2017, I published a novel entitled UNTIL THE LAST DOG DIES, which was about a young stand-up comedian who must adapt as best he can to an apocalyptic virus that destroys only the humor centers of the brain. That novel seems to grow more and more prescient with each passing day.
Here's an excerpt from Jules Roscoe's 1-5-24 VICE article entitled "Fired Comedian Ordered to Get Day Job Back After Jokes Ruled 'Simply Funny'" (hat tip to Nick Mamatas for bringing this article to my attention):
A reporter who was fired last year when his employer found clips of
his standup comedy online must be reinstated because his jokes are
funny, a third-party arbitrator has ruled.
The arbitrator also
found that his comedy clips, which covered topics including 9/11,
Israel, and oral sex, could violate Philadelphia-based NPR member station WHYY’s
social media policy and must be removed. The reporter, Jad Sleiman,
said this raises concerns about the boundaries of remote work.
“I kind of couldn’t believe it,” said Sleiman, who wrote on Instagram
that he’s been pursuing comedy full-time since his firing. “The one
thing I’ve been told about arbitration is they usually split the baby,
so nobody gets everything they want. But what’s been on my side this
whole time is the case against me has just been such bullshit.”
Sleiman
had spent five years as a reporter at The Pulse, a health and science
radio broadcast produced by WHYY. However, after senior management found
clips of his standup comedy routines that he had posted on Instagram—clips
the company alleged were “egregious” with “sexual connotations, racial
connotations, and misogynistic information,” according to the
arbitration case document Sleiman posted online—he was fired last January.
“They
cut off my health insurance same day, despite the fact that they know I
have multiple sclerosis and rely on very expensive drugs to walk,”
Sleiman told Motherboard on Wednesday. “They also went and deleted all
my work from the site, every single possible clip I could try to use to
get a job.”
Sleiman’s comedy focused on his “experiences as an
Arab American, raised in a Muslim family, his experience in the U.S.
Marine Corps, and his reporting while he was in the Middle East,”
including embedding with Syrian opposition fighters and covering ISIS in
Iraq, the arbitration document states. It includes written samples of
nine jokes that Sleiman had posted as clips on Instagram (which, as part
of the arbitration agreement, he has since removed from his page). One
joke is listed with the title, “Kind of Racist.”
“I work at one of
these places that’s so woke it’s kinda racist,” the joke reads in part.
“Like this lady asked my boss, she’s like ‘Yo, does Jad consider
himself a person of color?’ because she was making a list of us. Fucking
hell? Sick, alright. I get to be in this lady’s brown dude PokΓ©dex.”
To read the entire article, click HERE.
Would you like to see more "Humor Virus" Proofs? If so, you can find them in this CRYPTOPOST and this CRYPTOPOST and this CRYPTOPOST!
PRAISE FOR
UNTIL THE LAST DOG DIES
“By turns mystical and
ashcan-real, insanely funny and grimly ghastly, Guffey’s novel cuts a zigzag
trail through conventionality as it follows Elliot Greeley in his half-serious,
half jesting quest for some deeper meaning to existence. If you build your life
on laughs, what happens when the laughs disappear? Kissing cousin to Max
Barry’s novel Lexicon, about killer language, and to Ben
Marcus’s The Flame Alphabet, about language killed, Guffey’s
standup debut is standout speculative fiction.”
--Paul DiFilippo, Locus
“Taps into the cultural zeitgeist…. A nihilistic
satire that takes the idea that death is easy and comedy is hard to a whole new
level.”
--Kirkus Reviews
“Guffey’s debut takes full advantage of an
absurd, unexpected premise, delivering one of the strangest dystopian novels in
a year filled with them.”
--B&N Sci-Fi &
Fantasy Blog
“Guffey’s sardonic, cleverly written comedic
debut relies heavily on absurd synchronicity, bold characterization, and heavy
irony to make its points about the apocalyptic nature of American
humorlessness.”
--Publishers Weekly
“Not only a novel unique to this [political]
moment, but one that is to comedy what Catch-22 was to war. One
of the great books of the year.”
--Adam-Troy Castro, Sci
Fi Magazine
“A playful amalgam of Andy Kaufman and Philip K.
Dick by way of Shaun of the Dead.”
--Damien Lincoln Ober, author
of Doctor Benjamin Franklin's Dream America
“This satirical tale explores the role of comedy
in maintaining a healthy democracy…. A clever concept.”
--Kirkus Reviews