The two books are closely-related but extremely divergent in tone, style, and content--as evidenced by their exceedingly dissimilar marketing fodder (which follows).
Parody: The Art That Plays With Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an über-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.
How to Write Parodies and Become Immortal is an uproarious instruction book full of parody, irony, satire, bizarre wit, lab specimens, and secretly encoded recipes for doing unspeakable things with lard. The book is based on a unique and radical theory of parody, but its approach to parodic creation is so user-friendly that publication of the book may result in a shortage of agricultural workers: multitudes may be seduced into deserting the zucchini fields in order to devote their lives to the creation of parodies. For individuals this volume will empower would-be parodists to supercharge their creative fires and to transcend the common run of humanity, the "little people" whose lives are no more than blockages in the intestines of Time. Transformed by newly-acquired parodic skills, the budding paro-artiste may qualify for a listing in Who's Who in Mammalia while emerging as a "Holy Fool," a creature fit for service as an all-purpose television "Pundit" and as a dispenser of the written equivalent of Cold Dark Matter. This book is also ideally suited for college composition courses, but it should never be assigned to these academic cattle drives because the classes would be fun, and the results might be useful.