“The more success the quantum theory has, the sillier it looks.”

— Albert Einstein1
When Studies in American Humor conceived of a special issue on recent satire, we framed the topic by asking contributors to test the usefulness of the postmodern condition as a rubric. How might the concept demarcate a poetics of contemporary American comic art forms that use ridicule to enable critique and promote the possibility of social change?

Whatever distinctions might be or are being made about what to call the contemporary cultural and artistic era, beyond simply the contemporaryremodernism, performatism, hypermodernism, automodernism, renewalism, altermodernism, digimodernism, or metamodernism—the idea of a postmodern condition, most memorably offered by Jean-François Lyotard in La Condition Postmoderne: Rapport Sur Le Savoir (1979), can still function as an analytical gambit not just for considering the contemporary scene for the art of satire, but perhaps also for evaluating satirical...

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