Comedy memoirs are my thing. If you look at
my bookcase you’ll find half of the books are by comedians. Part of the
appeal is that a comedian’s autobiography is often more revealing than other
celebrity memoirs. In an age where everyone is trying to promote their own Cult
of Stalin via tweets, posts and Instagrams, the
comedian through honesty inverts this. The comedian’s image is as
contrived as any celebrity, but where the celebrity raises a glass to success,
the comedian downs theirs to disappointment.
The veracity required for good comedy lends itself to the memoir form. Comedians are used to sharing
ideas, values and opinions that others may find unsavoury, so they’re not going
to stop when it comes to putting their feelings down into print. On top of
this, the competitive nature of comedy means you need a distinct voice. The
worst thing you can be called in comedy is ‘hack’ (a derogatory term for
comedians that deliver crowd-pleasing but tired tropes of ‘have you ever
noticed…?’ routines); consequently, this need to be different often makes the
comedy memoir more revelatory and innovative.
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| I have one of these comedy books. For my own self-respect, I hope you guess correctly which one.. |
Recent examples of illuminating memoirs are
Johnny Vegas’ Becoming Johnny, a
cautionary tale of how Michael Pennington’s creation, Johnny Vegas, supplanted
his creator. Ostensibly, the tale is told by Pennington, but with the vituperative Vegas never far away there's always the risk the thing will implode into Jekyll and Hyde.
Observing how a charismatic character can overpower their meek master makes this a fascinating read.
Further, Stewart Lee’s book How I Escaped My Certain Fate illuminates the creative process of comedy. Comedy as Art is rarely recognised in high society; you only have to look at how it is treated alongside other culture to see that. Take Alan Yentob’s reverential Imagine series: he often pays tribute to authors, musicians and painters – but rarely comedians. The Academy Awards often shortlist dramatic performances – but rarely comedic ones. The Booker Prize judges wouldn’t know a joke if an Englishman, Irishman and Scotsman walked into their Private Members Bar. Lee’s book demonstrates how a comic’s job is arguably more difficult than other artists, as the failure is all the more public. Unlike conventional writing, a comic performs their drafts live; the audience are the editors: green-lighting jokes with laughs; red-penning them with silence. For comedians, the stage is both light bulb and waste paper bin; it is a ladder to the muses and a trapdoor to the hounds. Lee articulates this life and death dichotomy brilliantly.
Further, Stewart Lee’s book How I Escaped My Certain Fate illuminates the creative process of comedy. Comedy as Art is rarely recognised in high society; you only have to look at how it is treated alongside other culture to see that. Take Alan Yentob’s reverential Imagine series: he often pays tribute to authors, musicians and painters – but rarely comedians. The Academy Awards often shortlist dramatic performances – but rarely comedic ones. The Booker Prize judges wouldn’t know a joke if an Englishman, Irishman and Scotsman walked into their Private Members Bar. Lee’s book demonstrates how a comic’s job is arguably more difficult than other artists, as the failure is all the more public. Unlike conventional writing, a comic performs their drafts live; the audience are the editors: green-lighting jokes with laughs; red-penning them with silence. For comedians, the stage is both light bulb and waste paper bin; it is a ladder to the muses and a trapdoor to the hounds. Lee articulates this life and death dichotomy brilliantly.
Amy Poehler’s Yes Please is another brilliant comedy memoir. Doing– like Lee and
Vegas – something different with the format. Mainly known in this country for
co-hosting the Golden Globes and starring in Parks
and Recreation, Poehler eschews the formula of chronological life telling,
opting instead for thematic sections titled ‘Say whatever you want,’ ‘Do
whatever you like’ and ‘Be whoever you are.’ Traditional tropes of
autobiography are here with recollections of childhood and jobs prior to comedy;
but with polemics on sex, motherhood, privilege and technology the whole thing
reads more like a humorous manifesto than A-B journey-destination tittle-tattle. Fans
of Parks may be surprised with the
candour of some of these opinions. Whilst her sitcom character, Leslie Knope, is the
squeaky clean poster-girl for feminism; Amy Poehler is the mischievous
moustache on the hoarding. Like Leslie
she believes in putting personality before appearance and doing what you can
for the sisterhood; unlike Leslie she confesses to the recreational use of
drugs and pornography. Whereas Leslie lacks self-awareness, Poehler is acutely
familiar with the world around her. In one of the funniest chapters in the
book, she skewers society’s pregnancy paranoia- exemplified in the 'birthing plan-' by outlining her own natal
demands - (An annoying nurse with an
unfunny and teasing manner on whom we can focus our anger would be a welcome
addition. The mother would also like a punching bag, a screaming pillow, a
mirror to smash and a small handgun. The father would like a George Foreman
grill, just to have). Further, she satirises the shame of being a divorcee
through imagined book pitches (‘Divorce:
Ten Ways Not to Catch It!’ Divorce is
contagious. Haven’t you heard? It’s like cancer but only worse because no one
really feels that bad for you.) In reading Poehler’s book you get some of
the glass half full optimism of Leslie, but you also get the glass half empty
rage of a person who resents the pressures put upon her gender.
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| Poehler as Leslie Knope in Parks and Recreation. |
One of the things that really shines
through in Poehler’s book is her love for collaboration. She refers to Tina Fey
as her ‘comedy wife,’ remarking: ‘we don’t compete against each other, we
compete against ourselves.’ Anyone who has seen the two side by side at the
Golden Globes knows how well they work to create something truly special.
Recent reviews of their new festive movie Sisters
corroborate this too. Her book is also a collaboration of sorts as
she has friend Seth Meyers write a chapter, and in the section on Parks and Recreation has script editor Mike Schur add margin notes to what she is saying. There are very
few comedians who would be happy to have other people contribute to their book;
Poehler, you get the feeling, wouldn’t have it any other way. Her background at
Second City (America’s seminal improv school) has made her appreciate that
comedy doesn’t have to be done in isolation; it’s often funnier in
conversation.
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| Tina Fey and Amy Poehler |
Poehler’s book wears many hats moving from
memoir to parody to feminist essays. The fact that this balancing act is
carried out with such aplomb is perhaps no surprise to a woman who juggles
filming, parenting and charity commitments. Poehler worked hand to mouth for
fifteen years to be an overnight success. If you read this warm, witty book, you’ll agree Poehler is a rare example of someone who deserves their riches.
Yes Please is out on paperback now.
Yes Please is out on paperback now.
