“Bossypants” by Tina Fey: A pre-view
Luigina Cecchina-Tarquina
Assoc. Lifestyle Contributor
When I picked up Tina Fey’s book, I knew little more of her reputation than as a female comedian. I expected a chuckle and some depiction of a woman’s take on the world of hollywood success — I would not have expected to come across a racist book that struggles to relay a single joke while recounting the life of a southern woman’s bygone teenage years, but then, what would one expect from a cast member of “saturday night live”.
For those who are even aware of Saturday Night: Live (SNL), it is common knowledge that Tina Fey, and saturday night live for that matter, are controversial figures in american media. It seems to be a split right down american society: people who find Tina Fey “L-O-L” funny, and people who find her humour unsufferable; people who tolerate the blatant racism of snl and 30rock as “satire,” and those who have had enough of the denigration, minstrels, slurs, and tropes for cheap comedic effect.
I know Tina Fey is a comedian — a clown — and sets out to prick peoples ears and widen people’s eyes. To quote another comedy critic, I do not seek to come off as someone wilfully misunderstanding humour and repeatedly not getting the joke.
Yet the illusion of that decision is for those who do not remember that Bill Murray had a sketch on snl, where he dreamed about “turning from ‘brown’ to ‘white’”, and the more recent habit of snl writers hiring minorities as comedians to attack themselves on the show with slurs, because it would look less objectionable than if the writers denigrated those actors or people themselves. In Tina Fey’s book, she states that “As a Greek,” she would “only date a ‘white’ man, such as a redneck” inexplicably fond of camouflage.
But to quote that same critic again, humour has a goal; It has an audience. When engineered to subvert expectations and play to the common denominator, jokes have a base which they are founded upon. If that baseline for the comedian or writer, like Fey, is a bedrock of deep-seated racism, which the comedian exploits rather than lampoons, it is no longer a humorous observation, but a cheap, racist ploy servicing an already receptive racist base.
Tina Fey saying she would only date in a certain imaginarily-defined group is racist. Full stop.
Fey going on to say she would date even the lowest, “redneck,” in that category, before anyone else in the world is not less racist — as Fey probably expected her statement to be received (by deprecating people of European-descent with ethnic slurs like “redneck” or “hillbilly” or “honche”, rather than solely praising their racist memes) — but it is more racist, as Fey is simultaneously using racism to make fun of her suitors, and again using racism to elevate even them above anyone and everyone else.
Not to “belabour the point,” as Fey would appreciate, or focus on one bad joke: but Fey’s joke is playing to long-festered notions of racism, colonialism, and rogue supremacism, which Fey buys into rather than challenges, where Fey herself puts (1) any “Aryans” above (2) rich Europeans, (3) Greeks above poor Europeans, and (4) poor Europeans above (5) the rest of the living world. It is inane — and stupid — but a strongly held delusion among groups (1) through (5), and probably strongest among groups (2) to (4).
Fey happily plays with this unholy flame of racism, undergirded by genocide in her native South, fuelled by the segregation in Fey’s own high school, and leaving embers of anti-marriage laws across the American East.
That is not to say racism, colonialism, genocide, holocaust, mob rule, political repression, et alia, are not to be joked about — they are the most popular comedic material in the United States (even if only in the United States). But these topics are deadly serious, and not as distant and abstract as we would like them to be.
There is a real possibility, given their frequency and recency, that anyone who read the first edition of Fey’s book, or attended same secondary school, committed a hate crime, using the exact same rhetoric Fey employs as a “joke.” Not only that, Fey never says it is a joke — there is no punchline.
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The only reason I give Tina Fey the benefit-of-the-doubt and assume she was not serious about what she said is because the statements where so outrageous and absurd that someone would have to be insane to print them in sincerity, and equally as ungracious to print them even in jest.
Nonetheless, it was never expected to have to wrestle with these issues, which Fey has ill-managed, in a comedy memoir. Maybe if it had to do with Fey’s experiences or personal identity (as “German–Greek”?) it would have a more natural place. That is, if Fey had been the victim of racism, and condemned it, even through humour, that would be expected, cool, and fine. Fey calls herself “Greek,” but only tongue-in-cheek, and it’s apparent she doesn’t speak Greek. Fey calls herself “German,” but only in relation to being American, and it’s apparent she doesn’t speak German.
What we learn is not how Tina Fey suffered racism, but her experience in adopting racism itself. It offends the senses, and anchors the book.
While hardly intended to win over the intellectual crowd, some of Fey’s items over the years cannot be ignored. Conventional culture, and Fey herself, would seem to agree, after the firing of certain snl comedians and the pulling of certain 30rock episodes, that just went too damn far.
This puts Fey in the precarious position of defending her legacy of racist and baiting comedy, and that of her colleagues, as now she has been outed as admitting herself that she has crossed the line on several, several occasions. But does that mean that Fey is accommodated now that she has made a partial apology? Or is that the mere beginning of scrutiny now that critics have gotten their first concrete admission of her failure?
Fey, and many of her cultivation, say such racist things in order to just have meaningless fun, or in order to make fun of the racist. While Fey and the others may consider this to be in good fun, and an inclusive way to overcome racism, at the end of the day you have subtly racist comedians repeating the words of violently racist hate-mongers for the entertainment of an audience often apathetic to the realities of racism. That is to say, with such willingness to commonly, repeatedly, and recklessly embrace such a serious topic, they can miss the mark.
The impulse may be that racism is so at the heart of American culture and popular life that it is expected that a pop culture figure embrace it (similar to why comedians talk so much of ornery subjects such as politics), and that they should not be taken seriously as comedic plays on the feelings of the populace.
However, comedy is nothing if it does not play to the sentiments of the crowd, and the cover of the clown mask is a poor excuse for crude thinking. In Fey’s apology for racist comedy sketches on her show 30rock, she echoed a previous comedians apology, David Letterman, when she said that intent is less important than perception when that perception causes innocent people pain. In Letterman’s statement (on a different subject), Letterman also says it is not about intent but perception that forced his apology and goes so far to say that if you must explain a joke, it wasn’t that funny anyway, so there is no sense in defending it.
Elizabeth Xenakes Fey, or Tina, has been a supporter of progressive movements in the country, but it should not be overstated to what extent, nor should the virtue of this support be overstated. Fey’s famous endorsements of Barack Obama versus John McCain, and of Hilary Clinton versus Donald Trump, and moreover her critical statements of Sarah Palin’s alliance to both McCain and Trump, have been definitive to her identity as a good liberal and progressive person who supports women’s advancements.
Yet, so too did the majority or Americans. It is not a controversial stance to support the candidate that won the popular vote of a national election — and, sadly, many racist people, both aware and unwitting, also vote for so-called “progressive” candidates for different reasons, despite their problematic stances. That is to say, being a Democrat is not exculpatory of anything. It should also be noted that Fey endorsed Clinton over Obama in the primary, and refused to endorse Bernie Sanders (or Clinton) in the next primary, and Fey describes herself and her works as “neutral,” rather than progressive.
Fey’s most famous work in comedy, the impersonation of Sarah Palin wasn’t as scathing as one might expect of a true critic, but was in many cases humanising, and even flattering. Fey was not kind in undermining the Tea Party spokesperson, but Palin was made out to be an odd yet loveable figure, rather than a contemptible one: she was written off. As Fey’s alter ego said herself, ‘it would be egotistical for saturday night live (or anyone else) to believe that a couple of jokes swung the 2008 election.’
Tina Fey has many hard questions to answer for racist depictions in her sketches, television series, and book — and it is not so easy a dodge to say that she once ‘made fun of Sarah Palin.’ Another reviewer stated, “I don’t think Fey comes off as a bad person, I just don’t think she’s funny.” Tina Fey doesn’t come off as a good person, or a bad person, but just presents as an ordinary person, and whether you find Tina Fey (or mor importantly, any of her jokes) funny is a personal and indeterminable matter.
I watched a few of Fey’s “world-famous” skits for this review, and I admit I did mistake Sarah Palin for Fey in their cross-over cameo skit; And the moment I laughed the hardest (in fact the only moment I laughed through the skits) was during the VP Debate Sketch with her fellow southerner, Jason Sudeikis, where “Biden” repeatedly attacked Scranton, Pennsylvania as “the worst place on Earth” — so again, people react to comedy in an unpredictable way, as a basis of personal experience. I don’t think all of Fey’s jokes make it, yet no one can singularly define anything as “funny,” or not, but I do see her as a professional on screen. I don’t give a pass however on bad interest jokes, especially on the mere basis of not liking Donald Trump (who, remember, is also a television celebrity who has worked in comedy, and made jokes that were blatantly racist — and sexist).
Entering Fey’s book, “Bossypants”, with this pre-review (re-preview?) in mind, it introduces to me that this memoir may turn to places unexpected, and that just because it is a celebrity-text does not mean it will be a simple, casual, or homey, ride.
