<i>Humor w “czasach zarazy”</i> [Humor in the time of plague]

Humor w “czasach zarazy” [Humor in the time of plague] by Ewa Głażewska and Małgorzata Karwatowska is the second book published in a series dedicated to the subject of the Covid-19 pandemic. Both authors can boast of significant scholarly contributions in the fields of cultural studies and linguistics, respectively, but it is their pandemic series that has garnered enormous attention from readers, researchers, and the media. This series, which started in 2021 with a very timely and successful volume Maska w “czasach zarazy.” Covidowe wizerunki masek—typologie i funkcje [The mask in the time of plague. Covid images of masks—typologies and functions], was followed by two subsequent volumes: Humor w “czasach zarazy” [Humor in the time of plague, 2023] and “Ocalić od zapomnienia.” Pandemia COVID-19 w muzeach [To save from oblivion. The COVID-19 Pandemic in Museums, 2025].In the second volume in the series, the authors focus on a fascinating and somewhat perplexing phenomenon of pandemic humor. Life-threatening situations such as pandemics are seldom linked to concepts of humor, jokes, and laughter, at least not upon initial examination. Nevertheless, throughout the ages, laughter and humor have been considered cathartic powers, helping to cope with stress and difficulties. To support this thesis, the authors recall the following quotations: “Voltaire once said that nature, in order to bring relief to man in his difficult life, gave him sleep and hope. She also gave him laughter—Kant rightly supplemented Voltaire” (p. 11). A famous icon of early Hollywood comedy, Charlie Chaplin, claimed that “humor is, in fact, an attitude of defiance: we must laugh in the face of our helplessness against the forces of nature—or go insane” (p. 14). Indeed, as the Covid-19 pandemic firmly established itself in early 2020, it quickly became apparent that the confinement of lockdown and prolonged solitude compelled people to seek out available outlets for the release of tension. As a result, the internet became flooded with humor in the form of verbal jokes, which soon transitioned into visual expressions manifested on masks, memes, and various other media. Thus, in their book, Głażewska and Karwatowska undertake the analysis of this cultural phenomenon, which, although evident to the current pandemic generations, will require explanations and contextualization in a few years’ time.Following a concise introduction, the book proceeds with a chapter delving into the theoretical aspects of humor. The authors commence by elucidating the origins and significance of the term, subsequently offering an exploration of various theories and the cultural understanding of humor across different epochs. Chapter 2 focuses on Covid-19 jokes and is divided into two subchapters. The first subchapter discusses the theoretical aspects of the concept of a joke, while the second one presents a selection of examples and their analysis. The material compiled in the chapter constitutes an interesting collection of jokes, the success of which often relies on understanding social stereotypes (e.g., gender roles, professions, appearance, etc.) valid and comprehensible in the times they were created. Hence, aside from providing a portrayal of pandemic times, the chapter, and indeed the whole book, draws a much wider picture of a man and his defense mechanisms in the face of adversity. The authors conclude the chapter with Aristotelian reflection that: “[O]ut of all beings, only humans are capable of laughter” (p. 45), and continue this thought with the following statement: “[I]t is incredibly valuable that people can make jokes about very difficult situations, sometimes even tragic ones, and certainly the recent pandemic falls into that category. This allows them to familiarize themselves with the threat” (p. 45).Chapter 3 focuses on humor related to pandemic masks and is divided into two consecutive subchapters. The first one focuses on the cultural origins and distinctive features of Covid-19 face masks, drawing upon subject matter previously discussed in the authors’ first book. Concluding this subchapter is the assertion that despite their intended purpose of covering the face of the person wearing it, masks in fact show more than they hide: In our opinion, a mask reveals more than it conceals, it discloses rather than hides, and this observation also applies to matters related to humor. The contemporary Covid mask, in the ubiquitous “theatre” of the internet, with its resounding audio-visual “voice,” demonstrates what amuses and entertains us, as well as the foundations upon which that humor is based (p. 51). The second part of the chapter presents various types of masks (from political, artistic, religious, etc., to film and music related ones) and their functions.Chapter 4, the most extensive in the entire book, presents a comprehensive examination of the “memetic pandemic.” Within its three subchapters, the authors not only provide a historical overview of this phenomenon but also conduct an interdisciplinary exploration of memes as a source of humor and their underlying functions. Additionally, the chapter features numerous visual examples of “corona memes,” accompanied by their analysis.The concluding chapter serves as a case study of “social distancing” and “Coronalisa.” To analyze these subjects, the authors have compiled an impressive collection of social-distancing-related memes, images of masks, and numerous pop-cultural remixes of Leonardo da Vinci's famous painting, Mona Lisa. Through the analysis of these selected cases, the book explores the human capacity to transform the frightening and daunting reality of the pandemic into outlets of visual humor.The main aim of Głażewska and Karwatowska's book is to examine the nature of Covid-19 humor. The book serves as a valuable resource, presenting a wide range of pandemic-related materials such as pictures, illustrations, and verbal jokes, accompanied by a detailed interdisciplinary analysis and interpretation. From the outset, the authors emphasize the purifying power of humor and laughter, highlighting their positive social functions. As stated, humor alleviates tensions, conflicts, frustrations, creates a relaxed atmosphere, and has a beneficial impact on the psychological and physical well-being of individuals, ultimately helping to conquer fear (p. 202). Additionally, as astutely observed by Umberto Eco, “while tragedy (drama) is universal, comedy [. . .] seems to be linked to epochs, environments, and cultural anthropology” (p. 19). Thus, Humor in the Time of Plague serves as a testament to the unique circumstances faced by the authors and their peers during the weighty reality of the pandemic. It stands as a chronicle of the era and provides a vivid portrayal of the intricate intertextual nature of pandemic humor, which often serves as the sole weapon available to ordinary individuals in navigating the challenging circumstances of the early 2020s lockdowns.