Laughter is a problem. Yes it is, don’t laugh at me. It may be a problem larger than suffering, larger than evil, larger than a moon made of fingernails, and it is a problem because of this: laughter thrives on tragedy. Someone trips, and we
laugh. A cow bursts into a shopping mall, and we laugh. A black man meets a Jew on the beach, and we laugh.
“The law for the comic is very simple: the comic is wherever there is contradiction and where the contradiction is painless by being regarded as canceled,” quipped Kierkegaard, and I agree. [1] Humor is our burst of surprise before incongruity, the sonar explosion that magnifies contradiction. It is our lighthearted reaction to oddness, to things that are not the way they were supposed to be. Provided nobody is hurt and things end well, what do we laugh about? People tripping, a cow’s parade, racist prejudices: tension, incongruity, and tragedy. We laugh about things that, if they followed their logic to the end, would amount to great sadness: the person tripping and hurting himself, or the racist tension leading to conflict and humiliation.
I noticed this tragicomic dynamic of humor after watching one hilarious video. Carlo Verdone, a Roman actor, receives a phone call late at night, of someone looking for Aunt Mary. “But Aunt Mary is dead!,” he answers, cross-eyed with a pajama hat. Verdone asks the other person what message she wanted to pass on, and it was about someone’s death. Then he learns that the two sons are dead too, and the dog. Tragedy follows on tragedy until, talking about the grandpa who did not have an arm, Verdone asks the person what number did she dial. It was the wrong number, and he sighs relieved that no one is dead after all, at least no one he knows except Aunt Mary, of course.
As I finished watching this video, it struck me how the video was actually one grand tragic scene: death, suffering, mourning, disabled people. Yet it was profoundly funny. We know it was the wrong number, so we can crack up about people’s deaths. In the light of resolution, tragedy is funny. We laugh at sadness and death, because we can see hope. The good ending redeems tragedy and transforms it into comedy.
If I may risk moving to more serious matters (no, booohhh from the crowd), I think the problem of humor raises a big question for us then. What about us? What about life? It there a good ending which will cancel our tragedies? Can we laugh only at jokes and videos, and despair at our lives, or can we laugh about our destinies too? Is there hope for our litany of longings and disappointments and tragedies, or is laughter reserved only for fictitious and fantastic stories?
According to the Christian faith, there is such hope, though it is kinda like a joke too, and it is hilarious. We can call it maybe The Grand Prank. Jesus, after talking about heaven and eternity, after saying grandiose things like he is the Bread of Life, after amassing a multitude of people longing for victory and salvation, after convincing folks that he was God incarnate, and that hope had finally arrived, this Jesus, well, dies. He trips worse than the cow that falls on the black man and the Jew in the mall. And then he appears to people who came to mourn his death, like a spooky ghost haunting the cemetery. Tcharaaahhhh!!!
I mean, couldn’t Jesus ascend to the sky and pour down salvation directly? How could he let people watch him die and stay quiet, saying nothing to relieve their tears, disguising nothing of the Grand Prank, and just scare the bejesus out of them by showing up alive in the cemetery a couple of days later? Couldn’t he offer life without poking fun at death?
I believe he couldn’t, and this is what makes Jesus’ hope so serious. His prank is comic precisely because it is tragic. It is no half-hearted joke, no little girl’s bear-meets-the-panda story. Jesus can offer us life precisely because he confronted death. Out of the greatest tragedy of history emerges our possibility of laughter, the moment which can redeem our tragedy into comedy. Jesus’ hope addresses the depth of our tears; we have nothing worse than what he went through. But his hope lifts us to humor and laughter too, and in a way which does not deny suffering and death, but which redeems them.
Jesus’ hope is both tragic and comic, and that’s why I entrust myself to him, why I believe his prank saves my life, why we can laugh out loud not only at jokes but at life too. There is nothing as hilarious and life-giving as this hope, not even the black man and the Jew shouting at the cow for falling on them, and the cow who answers back blaming the Republicans. It is a hope which leaves us both crying and laughing, both with sadness and joy, both mourning death and celebrating its resolution. It is serious, not light-hearted laughter, laughter which engulfs tears and cries with joy.
René Breuel
[1] Soren Kierkegaard, “Concluding Unscientific Postscript”, in Howard Hong and Edna Hong, eds., The Essential Kierkegaard (Princeton: Princeton University Press, 2000), 236.










“Dude, you severed my finger.” Sadly it was true. Anthony and I were moving heavy logs, in preparation for a youth camp—kumbuyah round the camp-fire. “1-2-and … STOP!”—and like that his arm locked, I dropped, and the finger lopped. Doh. First came the shock. Then came the accusations: “What about my music career?” Anthony was a talented saxophonist, headed for the music conservatorium. I’m not into brass, but I gather missing a digit makes it difficult to dance over the spatula keys reciting John Coltrane’s ‘Round Midnight’. Anthony was now ‘disabled’.
A few quick observations: First, Jesus ‘saw’ the man who was blind, not for his disability, but for his personhood (v1). Ben wasn’t a data point in a sceptic’s set, nor was he a theological conundrum for religious apologists. Jesus truly saw Ben, and loved Him. The imago Dei isn’t an ability or function, but an identity as a child of God, created and loved by the Father, thus worthy of respect. Contra-Descartes, “I love (and am loved) therefore I am.”





