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Moreover, in the early pages of Scott McClanahan’s The Sarah Book (Tyrant Books, 2017), the narrator, a lovelorn alcoholic, is describing how he is the “best drunk driver” in the world. Teaching other kids how to be funny is the toughest gig that Jamie Grimm has ever had, and with the highest stakes. Few people have written with as much zest and fun about modern Irish identity as Dubliner Roddy Doyle. There was an unbridled enthusiasm for all things atomic (from cocktails to motels and, of course, bombs) and unending culinary innovation, (spray-on mayonnaise, frozen salads, liquid instant coffee in a spray can).
Writing a good autobiography is a difficult thing to do, and it's stumped a lot of British comedians who you'd assume would be able to knock off something diverting quite easily. Many of these books are entertaining, but they tend to prioritize individual gags over sustained effect in a way that crowds out all the other pleasures the reader might be looking for.Dorothy Parker was a trailblazing Jazz Age humourist who purveyed her jocularity in short stories, poems, screenplays and criticism.
Most people who identify as funny learn to make people laugh in the short term, at the level of quips and retorts; to come up with a humorous turn of events is another thing. The set pieces, such as Mr Milton diving disastrously from the high board ("He hit the water – impacted really is the word for it – at over six hundred miles an hour, with a report so loud that it made birds fly out of trees up to three miles away. This situation can come across as absurd to your reader and force your characters to deal with being honest all the time. There is also a great humanity to the narrator: if he is critical of others, he is equally critical of himself. It’s set in the early 60s, in a shabby, crumbling stage school in Covent Garden, full of terrifyingly precocious child actors and inept, downtrodden teachers, all presided over by the infamous Frieda “Freddie” Wentworth.He does not rise to the occasion, starting a segregated bus so that his friend can live out his fantasy of giving up his seat to a white woman, and then, after crime on the bus mysteriously vanishes, agreeing to expand the program to the local school. Just remembering them can provoke a smile: for instance, Agatha Runcible’s appearance at the breakfast table in 10 Downing Street attired in Hawaiian fancy dress. From accidentally auditioning to be a pole-dancer to trying to reach the afterlife in the back of a pub, it feels like Daisy – who found fame writing and starring in hit BBC series This Country with her brother – was born to make us laugh. A welcome relief from the flood of performance studies theory, being firmly based in a lifetime of practice .
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