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It was none other than Langston Hughes who called Oliver Wendell Harrington America's greatest black cartoonist. Yet largely because he chose to live as an expatriate he has been almost entirely overlooked by contemporary historians and scholars of African American culture. This volume offers an omnibus of Harrington's best cartoons from the past four decades.

Drawing on the experiences of working improvisers, Whose Improv Is It Anyway? provides a never-before-published account of developments beyond Second City's mainstream approach to the genre.