LITMIR.BIZ

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because I was best friends with one. While I was in L.A. the scene had grown more diverse, but with my clumsiness for such matters, I’d somehow managed to leave Austin at exactly the wrong time to benefit from it. Missing the chance to build connections on the way up, I’d reaped none of the rewards of the new scene, just stiffer competition from a glut of newcomers.

      Staring at Kim’s text—she told me to break a leg in the contest and offered herself as a practice partner if I needed to try out new material—I realized, not for the first time but with a fresh throb, how lonely I was back here in Austin. I kept my distance from comics like Kim, avoiding the preshow beers and the postshow hangouts. That went double for the guys. They were fine, all more or less like Fash. But if I didn’t want to sleep with them, and I didn’t, I knew the best I could hope for was to become a mascot, their short, cute, brown girl-buddy, great fun to pick up and swing around when they were drunk. No, thanks. I missed Jason too much to want to play that role for anyone but him.

      My mom always said I must have gotten my sense of humor from my dad, and I had vague memories of him as a hairy, elfin jokester who was always winking at me and taking off his thumb to make me giggle. Still, it was my mom who bought me my first joke book sometime after he’d left. She’d taken to shopping the Saturday-morning garage sales, waking up at the crack of dawn to scoop the neighbors, and often came home with stacks of worn, dog-eared chapter books for me. Included in one of these stacks was a flimsy orange paperback called 101 Wacky, Hilarious, Totally Crazy Jokes for Kids Ages Eight to Ten.

      Most of the jokes were god-awful puns, but there was one that always stuck with me. It went something like this:

      A moth walks into a psychiatrist’s office and lies down on the couch.

      PSYCHIATRIST: So, why don’t you start by telling me a little about yourself?

      MOTH: Well, Doc, I’ve got a wife, two kids, and a nice house in the suburbs with a two-car garage.

      PSYCHIATRIST: And how does that make you feel?

      MOTH: Okay, I guess.

      PSYCHIATRIST: Any problems?

      MOTH: Nope.

      PSYCHIATRIST: So you’re saying you’re perfectly happy with your life?

      MOTH (thinks): Yes, I think so.

      PSYCHIATRIST: Then what brought you in here today?

      MOTH: The light was on.

      I can still close my eyes and see the cartoon illustration, down to the last pen stroke: the moth, standing upright in a cartoon fedora, holding a briefcase in one of his hairy insect legs and shaking the psychiatrist’s hand with another, the mysterious couch looming in the background. Everything I learned about joke structure, I learned from that pathetic moth. Setup: two things that don’t go together (moth and psychiatrist). Heightening: the middle of the joke, lines that make you forget he’s a moth. Punch line: a sudden remembering.

      There are a hundred different versions of the moth joke, I later discovered. The moth goes into a bar, but he doesn’t order a drink; the moth walks into a gym, but he doesn’t lift weights; the moth strolls into a dealership, but he doesn’t buy a car. Eventually someone asks him why he’s there, and the moth always says the same thing: The light was on. The joke lulls you into believing that this moth, this time, is different. But he never is. In a way, it’s a joke about comedy itself. Comics aren’t happy people. We crave the light, and we don’t know why.

      When I started putting together my own set, I tried to picture the author of 101 Wacky, Hilarious, Totally Crazy Jokes for Kids Ages Eight to Ten. I imagined some poor guy sitting in a bleak New York apartment with a typewriter in front of him and a stack of paper napkins on which he’d made his drunk friends write down their favorite jokes, but they were all too dirty for a kids’ book. So in the end, past deadline—with a whole batch of these joke books he’d committed to churning out—maybe he went down to the library and checked out a stack of slightly older joke books, where he found the hoary old moth joke. And somehow, the hour being late and having just watched a Woody Allen movie with his girlfriend and maybe even had an argument with her afterward, he set his version of the joke in a shrink’s office, despite the fact that one of society’s most fervent desires for children ages eight to ten is that they should have little to no idea what a psychiatrist does.

      I didn’t even know how to pronounce the word, much less what it meant. But I knew this: No matter what the moth claimed, things like wife, kid, and two-car garage didn’t make anybody happy. I knew because my dad had had all those things, and he, too, had gone off looking for a light, leaving me alone in Amarillo with my mom.

      Alone, that is, until Jason came along.

      We met in American history in the eighth grade. We’d both been absent the day a big project was assigned, and everybody else was already in groups, so we got stuck working together. I was annoyed at first, because I could see right away that I would be doing all the work—the researching and writing of facts about Geronimo, the neat lettering on posterboard—while this dark-haired, gangly boy with glasses sat hunched over his notebook, silently doodling. But when I peeked over his shoulder at what he was drawing, a thrill went through me: David Letterman, his flattened-out, Neanderthal brow and gotcha smirk recognizable even in cartoon form.

      Jason looked up, noticed my expression, and waggled his eyebrows. “What do you think, Paul? He-hee!”

      It was such a perfect impression of the Letterman giggle and so incongruous with Jason’s glasses-and-acne face that I almost cracked up. Instead, I put on my best Paul Shaffer and said, “Pretty good, Dave, pretty good.”

      We went back and forth a few times before we both lost it.

      “What’s your favorite Stupid Pet Trick?” I asked.

      “I don’t know yet, I’m not finished.”

      “Finished?”

      “I’m watching recordings of every episode. I’m only up to 1987.” He misinterpreted the look I gave him. “I’d be farther, but I keep having to stop and look up stuff from the monologue.”

      “Wow” was all I could say. “Who else do you like?”

      “Conan.”

      “Duh. What about from now? Sarah Silverman?” His face soured. “Maria Bamford?”

      “She’s good. I’m studying the classics first, though,” he said importantly. “The big late-night hosts. So I can get into a writers’ room someday.”

      “Why not be the host? That’s what I want to do.”

      “Girls never do late-night.” He said it like he was sorry to have to break the news to me.

      “So I’ll be the first.”

      “You’re humble,” he said. “I like that about you, Dana Diaz.”

      That was how it started. Of course, in school, we couldn’t hang out without accusations of the boyfriend-girlfriend variety, but we knew who we were and what we had to offer each other. The summer after eighth grade, he started inviting me over to watch comedy specials DVR’d off of late-night cable, and I found any excuse to go. Luxuries like cable and DVRs had become rare after my dad left, and they disappeared entirely when my mom was laid off from the newly privatized helium plant. Jason had the TV mostly to himself in Mattie’s old room, which their dad had converted to a game room with a pool table and a Nintendo.

      Mattie was the one dark spot. Jason’s older brother was a high-school dropout who lived at home. He looked like a version of Jason drawn from memory by someone with no particular artistic talent: black hair hanging limply over a narrow forehead, blue eyes that squinted unevenly over a broken nose. Not much bigger than Jason, really—in fact, Jason may have had an inch on him—but he was broader in the shoulders, or carried himself as if he were. He picked on Jason, but it was his unpredictability more than anything else that cast a pall over the house. Mattie spent most of his off-hours walking

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