Yes please

I really only know Amy from her role in Parks and Recreation, which I love, but there is something about her which is very likeable, indeed the blurb on the book says everyone wants to be her friend. It’s definitely a feeling I got from her more personal chapters, which are more essays on life in general than specifics about her career.

The chapter on saying sorry was touching and on the point. So often a sorry comes with a caveat, we make it a selfish thing for ourselves than a real act of apology. Sometimes we are too angry to even think we should apologise. Her example is something I’m sure we’d all regret and I sniffled a bit at the final response.

Other good bits are on the positives of getting old; you get superpowers! She reveals how bad a sleeper she is and pitches her ideas for books on divorce rather than talking about her own divorce. She reveals she is a kind and dedicated mom who makes parenting work with her career, at the same time pointing out how much women can be really down on other women who are doing the opposite.

I’m not that familiar with Saturday Night Live and there is a lot about that. It came across a bit name droppy and was a list of this happened one time, and this happened another time. It was lacking the general charm displayed in other areas.

She does go on a bit at the start about how hard it is to write a book. I’m not doubting that, but in places it does feel like maybe she was going through the motions. Maybe if she hadn’t felt the need to “cover her career” I would have fallen in love, but I did find myself skimming some of it.

I read this because I loved Tina Fey's book, Bossypants, and Tina and Amy are basically BFFs for life, so I hoped it would be a similar experience.

Look, if you're going to write an autobiography, you need to have lived a pretty fascinating life. Politicians or high-up members of government, or people that have had a huge impact on the world, they tend to have really great autobiographies. So, who are you Amy Poehler? You were on a few TV shows and you had some kids? Doesn't it seem a bit pompous to write a book about oneself?

Tina Fey was in the same camp, just someone who was on television and had some kids, then decided to regale an audience with her various life experiences. And remember, Fey and Poehler are not people who even lived long lives and can thus offer wisdom of the ages. They're in their forties.

So when it comes down to it, these are both authors who really don't have much reason to publish an autobiography, and the cards are stacked against them in that it's almost impossible not to come off self-important. But Fey gets away with it, whereas, in my opinion, Poehler does not. Why?

The answer is simply, Fey's book is funnier. I'm not saying Yes Please is some kind of boring slog or that it's overly serious. It's a funny book, with lots of interesting little tidbits about Amy's life and career. I enjoyed a lot of it, but I think when all is said and done, if you're a 40-year-old comedian whose contributions to the world can be collected on a DVD shelf, you have to reach a particular threshold in hilariousness, and Fey just barely passes that threshold whole Poehler just barely does not.

So, overall, it's fine. If you really like Bossypants, there's a good chance you'll enjoy this. If you're a fan of Poehler in general, you'll definitely like it. Personally, I struggled to get through it a bit, and it didn't help that Poehler basically begins the book complaining about how hard it was to write and how unpleasant she found the whole experience - a fact that not only is brought up repeatedly through the book, but honestly just shows in the writing anyway.

Fey and Poehler are kind of joined at the hip - they hosted Weekend Update together, a lot of their movies star both of them, they host awards shows together, and so on. But I've always gotten this weird sense that Amy is the Funshine Bear to Tina's Grumpy Bear. Poehler seems to counterbalance Fey's dry sarcasm with a more earnest positivity. I could see preferring this book to Bossypants if you're generally a more positive person, but I like Fey's style and edge a bit more, and thus her book more as well.

This is a straightforward autobiography. Having said that, it contains a lot of the stuff that I usually attach to Poehler, i.e. quick turns of events, fast dialogue and fun stuff. The good parts that I was hoping for, but didn't expect, were those where she extrapolated on her youth and her hurt. For instance, what she refers to as her demon:

Dating in high school was very different. Boys suddenly went up your shirt. Girls were expected to give blow jobs and be sexy. You had to be hot but not a slut. You had to be into sex but never have it, except when your boyfriend wanted it. If you had sex you had to keep it a secret but also be very good at it, except not too good, because this better be your first time. Darling Nikki masturbated to a magazine, but Madonna was supposedly still a virgin. It was very confusing. Once high school started, I began to see the real difference between the plain and the pretty. Boys, who were going through their own battles started to point out things about me I hadn’t yet noticed. One told me I looked like a frog. Some told me I smiled like a Muppet. A senior told me to stop looking at him with my “big, weird eyes.” I looked in the mirror at my flat chest and my freckles and heard a sound. It was the demon, suitcase in hand. He moved in and demanded the top bunk.

Now, as I continue, please know a few things. I usually find any discussion about my own looks to be incredibly boring. I can only imagine what a yawn fest it is for you. But I cannot, in good faith, pretend I have fallen in love with how I look. The demon still visits me often. I wish I could tell you that being on television or having a nice picture in a magazine suddenly washes all of those thoughts away, but it really doesn’t. I wish I were taller or had leaner hands and a less crazy smile. I don’t like my legs, especially. I used to have a terrific flat stomach but now it’s kind of blown out after two giant babies used it as a short-term apartment. My nose is great. My tits are better than ever. I like my giant eyes, but they can get crazy. My ass is pretty sweet. My hair is too thin for my liking. My Irish and English heritage and my early sun exposure guarantee that I am on the fast track to wrinkle city. Bored yet? Because I can’t stop.

The bad thing about this book is the lack of editing. Where Tina Fey's "Bossypants" excelled, was where she was able to wrangle her experience and scatterbrained existence into a quite coherent book, but Poehler doesn't succeed even remotely as well. I wished her editor could have skinned a lot of the information that regards her children, and her pregnancy; it's just too much, and not interesting (to me). Still, this book is a rock-solid breeze in comparison with Lena Dunham's "Not That Kind of Girl".

Apart from the lack of needed editing, it's really interesting to see how Poehler comes at writing a book, having a relatively long career already in writing for TV and film:

Authors pretend their stories were always shiny and perfect and just waiting to be written. The truth is, writing is this: hard and boring and occasionally great but usually not. Even I have lied about writing. I have told people that writing this book has been like brushing away dirt from a fossil. What a load of shit. It has been like hacking away at a freezer with a screwdriver.

She does touch on a lot of stuff that we all come across in our young years, which is heartfelt.

Is there a word for when you are young and pretending to have lived and loved a thousand lives? Is there a German word for that? Seems like there should be. Let’s say it is Schaufenfrieglasploit.

The girls were a tough bunch as well. I was pushed into a locker and punched by a cheerleader. One girl pulled my hair at lunch because she thought I was “stuck up.” It was bad to be “stuck up.” It was also bad to be a “slut” or a “prude” or a “dexter” or a “fag.” There were no openly gay kids in my high school. My school had a quiet hum of racism and homophobia that kept all of that disclosure far away. Every year the girls would have a football game called the Powder Puff. The girls would play tackle football on a cold high school field while the boys dressed as cheerleaders and shouted misogynist things at everybody. It was as wonderful as it sounds. I played safety and tried to talk my way out of getting beat up. I saw a girl hike the ball and then just go over and punch someone in the nose. There was so much hate and hair spray flying. Black eyes were common. I started to learn that as much as I chased adventure, I had little interest in the physical pain that came with it. I also realized I didn’t like to be scared or out of control.

Doing comedy for a living is, in a lot of ways, like a pony and a camel trying to escape from the zoo. It’s a ridiculous endeavor and has a low probability of success, but most importantly, it is way easier if you’re with a friend.

I like her straightforward way of telling us what she likes in comedy.

For me, as a person in comedy, I am constantly weighing what I feel comfortable saying. There are big differences between what you say on live television and what you say at dinner, but you realize you have to be responsible for all of it. Each performer has to figure out what feels right. I am a strong believer in free speech and have spent most of my adult life in writers’ rooms. I have a high tolerance for touchy subject matter. There isn’t a taboo topic I can think of that I haven’t joked about or laughed at. But I have an inner barometer that has helped me get better at pinpointing what works for me and what feels too mean or too lazy. I like picking fair targets. I don’t like calling babies on websites ugly or comedy that relies on humiliation. I love ensembles and hate when someone bails or sells their partner out. I love watching a good roast but don’t think I would be particularly good at roasting someone. Maybe it all comes down to what you feel you are good at. I have a dirty mouth but know that I don’t always score when I work really blue. I have a sense of what kind of jokes I can get away with and still feel like my side of the street is clean. I like to lean my shoulder against limits and not depend on stuff that is shocking.

Her tales of working on Saturday Night Live match those that I've read about in books like Tina Fey's, and the immaculate interview book named "Live From New York", which is to say you basically give up your life to be a performer on SNL and any sense of time as well. All is frantic, and a minute is ample time to get 20 things done.

One day before a Wednesday read-through, Rachel Dratch threw her back out and had to lie down on the floor. Host Johnny Knoxville offered to help and pulled ten loose pills out of his pocket before realizing none of them were painkillers.

When Ashlee Simpson’s song screwed up, Dratch, Maya, and I were dressed in Halloween costumes for Parnell’s “Merv the Perv” sketch. We screamed and ran into Tom Broecker’s wardrobe department and hid under a table. Maya was dressed as a pregnant woman in a catsuit. I was Uma Thurman from Kill Bill. Dratch was Raggedy Ann. I remember us huddling together buzzing about the excitement of that weird live moment and then someone saying, “At least 60 Minutes is here.” For those who don’t remember, 60 Minutes was doing a profile on Lorne and happened to be there. Jackpot, Lesley Stahl!

“Relax” is a real tough one for me. Another tough one is “smile.” “Smile” doesn’t really work either. Telling me to relax or smile when I’m angry is like bringing a birthday cake into an ape sanctuary. You’re just asking to get your nose and genitals bitten off.

All in all: it's entertaining and quite funny, but somewhat caves in a bit after 70-80%. The bits where she writes about sex - especially where she, I don't know why, tells women that yes, they have to bite the bullet some times and just have sex with their men. Also, thinking only men and women exist as genders is pretty CIS and boring and daft. Still, this is an interesting book and it made me laugh a few times, but I prefer Tina Fey's book.

This is a straightforward autobiography. Having said that, it contains a lot of the stuff that I usually attach to Poehler, i.e. quick turns of events, fast dialogue and fun stuff. The good parts that I was hoping for, but didn't expect, were those where she extrapolated on her youth and her hurt. For instance, what she refers to as her demon:

Dating in high school was very different. Boys suddenly went up your shirt. Girls were expected to give blow jobs and be sexy. You had to be hot but not a slut. You had to be into sex but never have it, except when your boyfriend wanted it. If you had sex you had to keep it a secret but also be very good at it, except not too good, because this better be your first time. Darling Nikki masturbated to a magazine, but Madonna was supposedly still a virgin. It was very confusing. Once high school started, I began to see the real difference between the plain and the pretty. Boys, who were going through their own battles started to point out things about me I hadn’t yet noticed. One told me I looked like a frog. Some told me I smiled like a Muppet. A senior told me to stop looking at him with my “big, weird eyes.” I looked in the mirror at my flat chest and my freckles and heard a sound. It was the demon, suitcase in hand. He moved in and demanded the top bunk.

Now, as I continue, please know a few things. I usually find any discussion about my own looks to be incredibly boring. I can only imagine what a yawn fest it is for you. But I cannot, in good faith, pretend I have fallen in love with how I look. The demon still visits me often. I wish I could tell you that being on television or having a nice picture in a magazine suddenly washes all of those thoughts away, but it really doesn’t. I wish I were taller or had leaner hands and a less crazy smile. I don’t like my legs, especially. I used to have a terrific flat stomach but now it’s kind of blown out after two giant babies used it as a short-term apartment. My nose is great. My tits are better than ever. I like my giant eyes, but they can get crazy. My ass is pretty sweet. My hair is too thin for my liking. My Irish and English heritage and my early sun exposure guarantee that I am on the fast track to wrinkle city. Bored yet? Because I can’t stop.

The bad thing about this book is the lack of editing. Where Tina Fey's "Bossypants" excelled, was where she was able to wrangle her experience and scatterbrained existence into a quite coherent book, but Poehler doesn't succeed even remotely as well. I wished her editor could have skinned a lot of the information that regards her children, and her pregnancy; it's just too much, and not interesting (to me). Still, this book is a rock-solid breeze in comparison with Lena Dunham's "Not That Kind of Girl".

Apart from the lack of needed editing, it's really interesting to see how Poehler comes at writing a book, having a relatively long career already in writing for TV and film:

Authors pretend their stories were always shiny and perfect and just waiting to be written. The truth is, writing is this: hard and boring and occasionally great but usually not. Even I have lied about writing. I have told people that writing this book has been like brushing away dirt from a fossil. What a load of shit. It has been like hacking away at a freezer with a screwdriver.

She does touch on a lot of stuff that we all come across in our young years, which is heartfelt.

Is there a word for when you are young and pretending to have lived and loved a thousand lives? Is there a German word for that? Seems like there should be. Let’s say it is Schaufenfrieglasploit.

The girls were a tough bunch as well. I was pushed into a locker and punched by a cheerleader. One girl pulled my hair at lunch because she thought I was “stuck up.” It was bad to be “stuck up.” It was also bad to be a “slut” or a “prude” or a “dexter” or a “fag.” There were no openly gay kids in my high school. My school had a quiet hum of racism and homophobia that kept all of that disclosure far away. Every year the girls would have a football game called the Powder Puff. The girls would play tackle football on a cold high school field while the boys dressed as cheerleaders and shouted misogynist things at everybody. It was as wonderful as it sounds. I played safety and tried to talk my way out of getting beat up. I saw a girl hike the ball and then just go over and punch someone in the nose. There was so much hate and hair spray flying. Black eyes were common. I started to learn that as much as I chased adventure, I had little interest in the physical pain that came with it. I also realized I didn’t like to be scared or out of control.

Doing comedy for a living is, in a lot of ways, like a pony and a camel trying to escape from the zoo. It’s a ridiculous endeavor and has a low probability of success, but most importantly, it is way easier if you’re with a friend.

I like her straightforward way of telling us what she likes in comedy.

For me, as a person in comedy, I am constantly weighing what I feel comfortable saying. There are big differences between what you say on live television and what you say at dinner, but you realize you have to be responsible for all of it. Each performer has to figure out what feels right. I am a strong believer in free speech and have spent most of my adult life in writers’ rooms. I have a high tolerance for touchy subject matter. There isn’t a taboo topic I can think of that I haven’t joked about or laughed at. But I have an inner barometer that has helped me get better at pinpointing what works for me and what feels too mean or too lazy. I like picking fair targets. I don’t like calling babies on websites ugly or comedy that relies on humiliation. I love ensembles and hate when someone bails or sells their partner out. I love watching a good roast but don’t think I would be particularly good at roasting someone. Maybe it all comes down to what you feel you are good at. I have a dirty mouth but know that I don’t always score when I work really blue. I have a sense of what kind of jokes I can get away with and still feel like my side of the street is clean. I like to lean my shoulder against limits and not depend on stuff that is shocking.

Her tales of working on Saturday Night Live match those that I've read about in books like Tina Fey's, and the immaculate interview book named "Live From New York", which is to say you basically give up your life to be a performer on SNL and any sense of time as well. All is frantic, and a minute is ample time to get 20 things done.

One day before a Wednesday read-through, Rachel Dratch threw her back out and had to lie down on the floor. Host Johnny Knoxville offered to help and pulled ten loose pills out of his pocket before realizing none of them were painkillers.

When Ashlee Simpson’s song screwed up, Dratch, Maya, and I were dressed in Halloween costumes for Parnell’s “Merv the Perv” sketch. We screamed and ran into Tom Broecker’s wardrobe department and hid under a table. Maya was dressed as a pregnant woman in a catsuit. I was Uma Thurman from Kill Bill. Dratch was Raggedy Ann. I remember us huddling together buzzing about the excitement of that weird live moment and then someone saying, “At least 60 Minutes is here.” For those who don’t remember, 60 Minutes was doing a profile on Lorne and happened to be there. Jackpot, Lesley Stahl!

“Relax” is a real tough one for me. Another tough one is “smile.” “Smile” doesn’t really work either. Telling me to relax or smile when I’m angry is like bringing a birthday cake into an ape sanctuary. You’re just asking to get your nose and genitals bitten off.

All in all: it's entertaining and quite funny, but somewhat caves in a bit after 70-80%. The bits where she writes about sex - especially where she, I don't know why, tells women that yes, they have to bite the bullet some times and just have sex with their men. Also, thinking only men and women exist as genders is pretty CIS and boring and daft. Still, this is an interesting book and it made me laugh a few times, but I prefer Tina Fey's book.

This is a straightforward autobiography. Having said that, it contains a lot of the stuff that I usually attach to Poehler, i.e. quick turns of events, fast dialogue and fun stuff. The good parts that I was hoping for, but didn't expect, were those where she extrapolated on her youth and her hurt. For instance, what she refers to as her demon:

Dating in high school was very different. Boys suddenly went up your shirt. Girls were expected to give blow jobs and be sexy. You had to be hot but not a slut. You had to be into sex but never have it, except when your boyfriend wanted it. If you had sex you had to keep it a secret but also be very good at it, except not too good, because this better be your first time. Darling Nikki masturbated to a magazine, but Madonna was supposedly still a virgin. It was very confusing. Once high school started, I began to see the real difference between the plain and the pretty. Boys, who were going through their own battles started to point out things about me I hadn’t yet noticed. One told me I looked like a frog. Some told me I smiled like a Muppet. A senior told me to stop looking at him with my “big, weird eyes.” I looked in the mirror at my flat chest and my freckles and heard a sound. It was the demon, suitcase in hand. He moved in and demanded the top bunk.

Now, as I continue, please know a few things. I usually find any discussion about my own looks to be incredibly boring. I can only imagine what a yawn fest it is for you. But I cannot, in good faith, pretend I have fallen in love with how I look. The demon still visits me often. I wish I could tell you that being on television or having a nice picture in a magazine suddenly washes all of those thoughts away, but it really doesn’t. I wish I were taller or had leaner hands and a less crazy smile. I don’t like my legs, especially. I used to have a terrific flat stomach but now it’s kind of blown out after two giant babies used it as a short-term apartment. My nose is great. My tits are better than ever. I like my giant eyes, but they can get crazy. My ass is pretty sweet. My hair is too thin for my liking. My Irish and English heritage and my early sun exposure guarantee that I am on the fast track to wrinkle city. Bored yet? Because I can’t stop.

The bad thing about this book is the lack of editing. Where Tina Fey's "Bossypants" excelled, was where she was able to wrangle her experience and scatterbrained existence into a quite coherent book, but Poehler doesn't succeed even remotely as well. I wished her editor could have skinned a lot of the information that regards her children, and her pregnancy; it's just too much, and not interesting (to me). Still, this book is a rock-solid breeze in comparison with Lena Dunham's "Not That Kind of Girl".

Apart from the lack of needed editing, it's really interesting to see how Poehler comes at writing a book, having a relatively long career already in writing for TV and film:

Authors pretend their stories were always shiny and perfect and just waiting to be written. The truth is, writing is this: hard and boring and occasionally great but usually not. Even I have lied about writing. I have told people that writing this book has been like brushing away dirt from a fossil. What a load of shit. It has been like hacking away at a freezer with a screwdriver.

She does touch on a lot of stuff that we all come across in our young years, which is heartfelt.

Is there a word for when you are young and pretending to have lived and loved a thousand lives? Is there a German word for that? Seems like there should be. Let’s say it is Schaufenfrieglasploit.

The girls were a tough bunch as well. I was pushed into a locker and punched by a cheerleader. One girl pulled my hair at lunch because she thought I was “stuck up.” It was bad to be “stuck up.” It was also bad to be a “slut” or a “prude” or a “dexter” or a “fag.” There were no openly gay kids in my high school. My school had a quiet hum of racism and homophobia that kept all of that disclosure far away. Every year the girls would have a football game called the Powder Puff. The girls would play tackle football on a cold high school field while the boys dressed as cheerleaders and shouted misogynist things at everybody. It was as wonderful as it sounds. I played safety and tried to talk my way out of getting beat up. I saw a girl hike the ball and then just go over and punch someone in the nose. There was so much hate and hair spray flying. Black eyes were common. I started to learn that as much as I chased adventure, I had little interest in the physical pain that came with it. I also realized I didn’t like to be scared or out of control.

Doing comedy for a living is, in a lot of ways, like a pony and a camel trying to escape from the zoo. It’s a ridiculous endeavor and has a low probability of success, but most importantly, it is way easier if you’re with a friend.

I like her straightforward way of telling us what she likes in comedy.

For me, as a person in comedy, I am constantly weighing what I feel comfortable saying. There are big differences between what you say on live television and what you say at dinner, but you realize you have to be responsible for all of it. Each performer has to figure out what feels right. I am a strong believer in free speech and have spent most of my adult life in writers’ rooms. I have a high tolerance for touchy subject matter. There isn’t a taboo topic I can think of that I haven’t joked about or laughed at. But I have an inner barometer that has helped me get better at pinpointing what works for me and what feels too mean or too lazy. I like picking fair targets. I don’t like calling babies on websites ugly or comedy that relies on humiliation. I love ensembles and hate when someone bails or sells their partner out. I love watching a good roast but don’t think I would be particularly good at roasting someone. Maybe it all comes down to what you feel you are good at. I have a dirty mouth but know that I don’t always score when I work really blue. I have a sense of what kind of jokes I can get away with and still feel like my side of the street is clean. I like to lean my shoulder against limits and not depend on stuff that is shocking.

Her tales of working on Saturday Night Live match those that I've read about in books like Tina Fey's, and the immaculate interview book named "Live From New York", which is to say you basically give up your life to be a performer on SNL and any sense of time as well. All is frantic, and a minute is ample time to get 20 things done.

One day before a Wednesday read-through, Rachel Dratch threw her back out and had to lie down on the floor. Host Johnny Knoxville offered to help and pulled ten loose pills out of his pocket before realizing none of them were painkillers.

When Ashlee Simpson’s song screwed up, Dratch, Maya, and I were dressed in Halloween costumes for Parnell’s “Merv the Perv” sketch. We screamed and ran into Tom Broecker’s wardrobe department and hid under a table. Maya was dressed as a pregnant woman in a catsuit. I was Uma Thurman from Kill Bill. Dratch was Raggedy Ann. I remember us huddling together buzzing about the excitement of that weird live moment and then someone saying, “At least 60 Minutes is here.” For those who don’t remember, 60 Minutes was doing a profile on Lorne and happened to be there. Jackpot, Lesley Stahl!

“Relax” is a real tough one for me. Another tough one is “smile.” “Smile” doesn’t really work either. Telling me to relax or smile when I’m angry is like bringing a birthday cake into an ape sanctuary. You’re just asking to get your nose and genitals bitten off.

All in all: it's entertaining and quite funny, but somewhat caves in a bit after 70-80%. The bits where she writes about sex - especially where she, I don't know why, tells women that yes, they have to bite the bullet some times and just have sex with their men. Also, thinking only men and women exist as genders is pretty CIS and boring and daft. Still, this is an interesting book and it made me laugh a few times, but I prefer Tina Fey's book.