Title: How I Escaped My Certain Fate
Genre: Autobiography
Year: 2010
Pages: 370
Origin: Borrowed from the eclectic comedic brain of Mr Walton
Nod Rating: 4 nods out of 5
The back cover of this book has a couple of quotes highlighted in bold: ‘The most exciting comedian the country bar none’ (The Times); ‘The worst comedian in Britain, as funny as bubonic plague’ (The Sun). It takes a bold man to bring in the views of both his supporters and negative critics. Ladies and gentlemen, please introduce yourselves to Stewart Lee.
Of course, many of you are acquainted with Lee’s work already (and have had the pleasure of introducing the Worm himself). Having enjoyed some public acclaim in the 1990s – most notably as part of a duo alongside Richard Herring on the cult show This Morning With Richard Not Judy – Lee fell out of love with comedy and appeared to retire from the stage. This book charts his return to the circuit, and more than that, a rise to the peaks of British comedy as we know it today. Good comedy, that is. Therefore, dear reader, you may discount the pointless reams of “acts” on television from this small, yet quality-laden genre known as “good comedy”. Yes, you know the names; the Worm needs not point them out.
How I Escaped My Certain Fate is an odd book to categorise: autobiography, but also comedy, alongside memoir and general discussion on the limits and abilities of comedy. As its subtitle states, it is ‘The Life and Deaths of a Stand-Up Comedian’. The book contains transcripts of Lee’s fantastic shows Stand-Up Comedian (2005), 90s Comedian (2006) and 41st Best Stand-Up Ever (2008); as well as several appendices ranging from the role of music theatre to a discussion with Johnny Vegas. These shows plot out Lee’s return to comedy; a revival that has seen him win critical acclaim and a growing number of new fans.
However, the juice in this book does not come from the transcripts alone (after all, the far superior option of actually watching the shows exists in DVD form); accompanying the words of the shows are numerous and deep footnotes. These allow the casual fan to the Lee fanatic (and the Worm is assured that these must exist in a sane world) to immerse themselves in the comedy world. The genesis of the jokes are revealed, alongside much of the background politicking in BBC meetings and with venue promoters. The footnotes are of such quality they elevate the book from a well rounded 3 nodder recommendation to the dizzier heights of 4 nods.
Credit and attention is given to many of Lee’s comedy posse, including – but not isolated to - the amazing Armando Iannucci and the fantastic Simon Munnery. Lee identities himself with this duo in an attempt to maintain a sense of art and purity surrounding their work, desiring to preserve integrity and not sell-out as so many comedians have done before. Bill Hicks would be proud.
It was during the opening years of the twenty-first century when Lee fell out of love with comedy; stating in his own words ‘gradually, incrementally and without any fanfare – or even much thought – gave up being a stand-up comedian’. Attention was turned to other pursuits, before finding a spark with the show Jerry Springer: The Opera. This journey back to the comedy circuit underpins much of the shows within this book, with Lee questioning his place within this world and with discussion on the philosophy of his work. For example, the work on Jerry Springer: The Opera adds ammunition with Lee drawing on the many attacks from religious groups; to the extent of actually citing them when on the stage.
Lee’s act has been deemed an acquired taste, with many condemning or ridiculing his style and delivery (from arrogance and conceit to plain dull). One reviewer wrote: ‘His whole tone is one of complete, smug condescension’. But the comic himself regularly self-deprecates, ranging from calling himself ‘fat’ to ‘a squashed Morrissey’, as well as using many of the negative reviews (including the one stated above) to use on advertising for his shows.
To dismiss him as arrogant is to misunderstand what Lee – both the onstage version and the real person - is attempting to portray. The Worm underpins it as remaining true to oneself, of pointing out the ironies in our society and of sticking up for the little guy. One of Lee’s strongest features is the ability to defend what has ridiculed, from equality and diversity (notably his conversations with his Nan on the dominance of equality and diversity) to his routine on the hypocrisy of the Top Gear presenters (‘I wish he had been decapitated and that his head had rolled off in front of his wife… It’s only a joke!’). As one of the few voices on TV to do this, Lee should be warmly applauded.
Lee’s career continues onwards and upwards, taking in other acclaimed and – if the Worm says so himself – fantastically engaging shows: If You Prefer a Milder Comedian, Please Ask For One, and Carpet Remnant World, as well as his two TV series Stewart Lee’s Comedy Vehicle. If any readers have yet to catch Stewart Lee on stage, please head straight to YouTube right now to become acquainted. You will not regret it.
Further Reading:
Buy it here
Stewart Lee's website
