Who Cut the Cheese?: A Cultural History of the Fart
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We've told you HOW TO SHIT IN THE WOODS. We've taken you UP SHIT CREEK. Now, we dare to ask the eternal question...WHO CUT THE CHEESE? Which is to say, what exactly is a fart? Why do we do it? Why do we hide it when we do it? And why do we find farts so darn funny? A cut above anything else on the subject, this book really lets go and tells all, getting to the bottom of these mysteries. Author Jim sniffs out a load of historical and scientific fart tales, then offers the kind of fun facts you'll be dying to let slip at social occasions, in chapters like "Fart Facts That Aren't Just Hot Air," "Gone with the Wind" (on famous movie farts), and "Le Petomane & the Art of the Fart" (on the most famous windbag in history). From fact to fiction to frivolous flatulence, this book is unquestionably a ripping good read.
dudgeon”: The trick, he observed, is “to say a word that sounds explosive but is otherwise innocent, or is presumed to be.” From flatulence has come the innocent euphemism “full of hot air.” But really, what is intestinal hot air but a fart waiting to happen? Anyway, poor people fart; the rich crepitate or flatulate. Perhaps the most familiar expression for farting is “breaking wind,” which dates back at least to the early sixteenth century, when to break wind meant either to belch or fart,
among fart lovers—Stern ushered three of his fartists, including the attractive farteuse, onto Earvin “Magic” Johnson’s short-lived Fox-TV talk show, The Magic Hour, in order to showcase their flatal talents accompanying the 1963 surf tune, “Wipe Out.” Magic Johnson’s ratings more than doubled overnight, as a proud nation held its breath and the ghost of Joseph Pujol looked down. But wait, two months later, on August 26, 1998, a 15-year-old kid visiting The Howard Stern Show pushed the envelope
Friar John—the precursor of today’s televangelist—goes from town to town and house to house, begging for contributions towards his friary’s ministry of saving lost souls and the erection of a new church. Finally he comes to the home of a well-to-do but bedridden old man named Thomas. Determined to take Thomas and his family for everything they own, the friar makes himself at home and preaches to the old man about charity. He explains how the piety and self-imposed poverty of humble friars like
toilet chest: So Strephon lifting up the lid, To view what in the chest was hid, The vapours flew from out the vent, But Strephon cautious never meant The bottom of the pan to grope, And fowl his hands in search of hope. O ne’er may such a vile machine Be once in Celia’s chamber seen! O may she better learn to keep “Those secrets of the hoary deep!” And up exhales a greasy stench, For which you curse the careless wench; So things, which must not be exprest, When plumpt into the reeking chest;
None ever saw her pluck a rose. Her dearest comrades never caught her Squat on her hams, to make maid’s water. You’d swear, that so divine a creature Felt no necessities of nature. Thus we meet Chloe, the bride. But the groom, Strephon, is a young man so ashamed of his own earthliness in the presence of this beautiful woman that he worries “How with so high a nymph he might demean himself the wedding-night: For, as he view’d his person round, meer mortal flesh was all he found.” But Swift