A superb study of one of England's finest satirists.

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Product Description

For his many friends and fans, Peter Cook was quite simply the funniest man they'd ever encountered. And nearly eight years since his death, his status as one of Britain's greatest comedians shows no sign of shrinking. Despite his reputation for idleness, Peter Cook was a prolific writer, who created countless outrageous sketches and articles, the very best, the most famous and some of the most unusual are collected here. Some of these pieces have never been published before, others are out of print, a few only survive in print, and many have only ever been seen or heard - never read. This collection ranges from Cook's first writing, at school and university, via "Beyond the Fringe", with Dudley Moore, Alan Bennett and Jonathan Miller, his dialogues with Moore as Pete and Dud, and Derek and Clive, and their brilliant TV series, "Not Only But Also", to transcripts of his late, great TV appearances, and a selection of his journalism for the "Daily Mail", the "Evening Standard" and "Private Eye".

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Product Details

• Amazon Sales Rank: #17806 in Books
• Published on: 2003-07-03
• Original language: English
• Binding: Paperback
• 350 pages

Amazon.co.uk Review
Peter Cook may have had problems that prevented him ever fully achieving all that his comic genius was capable of, but that side of the writer and comedian is not the point of Tragically, I Was an Only Twin: The Complete Peter Cook, which is a quite marvellous anthology of the man's writings.

Cook's reputation has continued to flourish since his death, and many consider him (along with Spike Milligan) one of the greatest comic writers this country has produced. Although his public face was always the quaffing, sardonic commentator, he was, in fact, a writer who simply never stopped creating new sketches and articles for both public consumption and his own satisfaction. Many of these pieces have not been published before, and many have only been broadcast once. This collection brings together many high spots of Cook's career: from his early success with Beyond the Fringe (and his initial meetings with Alan Bennett, Jonathan Miller and Dudley Moore) to his time as an éminence grise behind the magazine Private Eye.

Needless to say, all the marvellous EL Whisty monologues are here, as well as classic Pete and Dud routines, and even the more scabrous collaborations between Cook and Moore as the foul-mouthed Derek and Clive. The fact that Cook's Milligan-like drawings complement the text makes this a truly cherishable volume. --Barry Forshaw

About the Author
William Cook is the author of Ha Bloody Ha - Comedians Talking (Fourth Estate) and The Comedy Store - The Club That Changed British Comedy (Little, Brown). He has worked for the BBC and written for the Guardian, the Mail on Sunday and the New Statesman.

Excerpted from Tragically I Was an Only Twin: The Comedy of Peter Cook by Peter Cook, William Cook. Copyright © 2003. Reprinted by permission. All rights reserved.
Before The Fringe
'Even at school, Peter had a greater capacity for making people laugh than anyone I have ever met,' recalls Cook's school friend, Michael Bawtree. Yet even in the springtime of his life, Peter Cook was just as happy making his friends laugh in private as he was making his fans laugh in public, and many of Cook's funniest school performances never even made it onto the relatively private platform of the Radley school stage. 'Every trivial incident was a source of mirth,' remembers Bawtree. 'Occasionally, we would chip with our own additions to the theme, and Peter would enjoy that too, building on them, improving them, turning them inside out, as he did his own.' 'He had a tremendous ear, and caught at once distinctive speech patterns and vocabulary,' confirms another school friend, Jonathan Harlow. 'He could spin a whole fantastic web of absurdity from the merest thread of an idea or phrase.' But it was a fair while before these absurdist fantasies found a forum beyond the privacy of Cook's own social circle.
Meanwhile, Cook steadily matured into a fine young comic actor. The school magazine, The Radleian, ignored his dramatic debut, as a Socialist duchess in Stuck In A Lift, but praised the 'gusto' of his Doll Common in Ben Jonson's The Alchemist, and adored his 'wonderful display of virtuosity' as Don Adriano de Armado in Shakespeare's Love's Labours Lost. Finally, in 1955, his penultimate year at Radley, Cook started staging his own revues, playing a dung beetle, demonstrating a fascination for insects that would last throughout his life, and audaciously lampooning the BBC bigwigs who'd been invited along to cast a critical eye over Radley's amateur dramatics.
Cook was equally busy as a writer, earning the princely fee of four guineas for a published contribution to Punch. However several of his other compositions were rather more serious affairs. 'Bric-a- Brac', which won Radley's Medrington short story trophy, was an atmospheric spine-chiller about a young woman babysitting for a sinister couple who run a junk shop. Cook also tried his hand at science fiction. 'I wrote a terrible play about Martians landing in a suburban part of England,' he recalled, a quarter of a century later. 'I can't remember what happened, except that the Martians behaved more normally than the people in suburbia.' A more po-faced effort was his distinctly fascistic tract advocating the sterilisation of the 'unintelligent working class'. 'People say I've got more reactionary in my old age,' observed Cook. 'In fact, I've moved to the left from my very solid Nazi position at the age of sixteen.'
Yet Cook's most ambitious and successful schoolboy creation wasn't remotely Nazi in its sentiments. Remarkably, Black & White Blues was a full length musical, with words by Cook and music by his fellow prefect Michael Bawtree. Written entirely in rhyming couplets, it wasn't performed by the pupils, but by puppets, all made and operated by the school's Marionette Society. The plot concerned an evangelical jazz musician called Mr Slump, who travels to darkest Africa to cure the natives of their cannibalism. Cook produced the show, provided the voice for Mr Slump, and even carved some of the marionettes. 'It really was quite appalling,' recollected Cook in 1980, but his production was such a hit that the society cut a disc of the show in a proper recording studio, and sold several hundred 78rpm records around the school. 'A great success,' proclaimed The Radleian, in a warmly complimentary review.
Cook left Radley in 1956, and would have done National Service, had he not fortuitously failed the entrance test. 'I had been allergic to feathers and I had grown out of it, but it was still on my medical record,' he explained. 'They asked me if I would sneeze if I was in a barrack room full of feather pillows - an unlikely situation, I thought - but I said, truthfully, "yes," because everybody sneezes at some time or another, and so I was unsuitable.'
While his school friends sneezed in their barrack rooms, Cook spent a year in France and Germany. The official purpose of this sabbatical was to polish his French and German, in preparation for his Modern Languages degree at Cambridge, but it also provided Cook with the inspiration for his seminal Establishment club. 'I went to these awful satirical nightclubs. I thought they were terribly bad. I spoke reasonably good French and German, and I thought the humour was very juvenile.' Yet it made him wonder why there was nothing similar in London. 'For a long time my major fear was that somebody would do the obvious and start it before me.' It can't have been that obvious, because nobody did, and five years later he opened London's first satirical nightclub. The British Army's loss was British Comedy's gain.
In 1957, Cook went up to Pembroke College. He appeared in Pembroke's own plays and smokers, but it wasn't until 1958 that he dared to approach the famous Cambridge Footlights. The Footlights president, Adrian Slade, persuaded Cook to reprise his impression of Mr Boylett, the Radley butler, at a Footlights smoker, and by 1959 Cook had become an integral member of the Footlights team. Together with John Bird, he successfully campaigned to open up Footlights to female performers, bringing in Eleanor Bron, with whom he continued to perform, off and on, throughout his career.

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Customer Reviews

We are no longer One Book Too Few
At last, a collection of the musings of one of the greatest living Englishmen (albeit, now a dead one). Peter Amadeus Cook, as John Cleese referred to him. Since Peter's death there has been the odd book about him here and there. Harry Thompson's excellent Biog and Something Like Fire the collection of memories of friends and colleagues edited by Cook's last wife Lin being chief among them. This however is the nitty gritty, the dog's doo-dahs or perhaps more aptly, the bee's knees (as many of Cook's wildly inventive stream of consciousness tales included that very insect).
Here are culled examples - though not as the name suggests 'The Complete' - Peter Cook creative outpoorings, from his early reviews through to the Clive Anderson special with assorted pieces of writing in between, not quite what you might call journalism but mini works of genius every one.
Peter is dead, E.L. Wisty never managed to dominate the world but we can still help make a difference if every household had a copy of this book. Sit it in your loo and read a sketch per visit, put it by your bedside (it may help get rid of film starlets bothering you in their nocturnal lusts), just buy the book dammit, read it, injest it, spoil yourself in its healthy outlook on the ridiculous world we live in and give thanks for Peter Cook.

Really amusing
The only bad thing I have to say about this collection of Peter Cook's work is that the cover describes it as the complete Peter Cook, and well it's not, it's would be truer to call it the best of Peter Cook. And it really is that, it's got most of the classic scripts from the Tarzan sketch to Pete n Dud. The part that I really enjoyed to the point where I was chuckling away is the latter part of the book, it would seem that Peter Cook got funnier and funnier as time passed, watch out for Sven and his fishes expecially funny given as it was from a radio phone in.

It's definatly worth a read if you have a sense of humour, if you don't I would like to recommend 'Starting to Paint With Acrilycs' by John Raynes which is not funny in the slightest.

More For Dedicated Comedy Fans
Peter Cook was someone that anyone with any interest in comedy will have heard of. His partnership with Dudley Moore on Not Only But Also included the classic Pete and Dud sketches, which later evolved into the more foul mouthed Derek and Clive, and he was rightly celebrated for his work with Beyond the Fringe.

This book is not a biography (although each chapter is prefaced by some information about Cook and his work at the time) but a collection of what William Cook considers to be the best of Peter's work. There are certainly some classic sketches in there (including 'The Worst Job in the World', which involves Jayne Mansfield and the removal of lobsters and a Pete and Dud sketch retelling their harassment by beautiful actresses), but William Cook also includes articles and transcripts of Peter's work from a variety of sources.

Personally, I didn't enjoy reading the sketches so much as I enjoyed the articles. This is mainly because I think Cook's humour works best in the delivery and Cook's was so unique that reading his work seems a very poor substitute. In addition though (and at the risk of being branded a heretic), I think that there's a certain 'sameyness' to Cook's sketches - albeit sameyness of a surreal nature. You know what you're going to get from a sketch, which kind of robs it of its magic. That aside, I did enjoy reading his articles, particularly his sports articles (and this comes from the fact that (a) I don't support his teams and (b) I have very little interest in sport). Cook was certainly more prolific than I had imagined, and I also hadn't realised that he'd worked with both the 'godfathers' of comedy (e.g. Miller and Bennett) and also some of the current comedy titans such as Chris Morris and Clive Andersen.

Although William Cook takes the approach that Peter Cook's work speaks for itself, I would nevertheless have enjoyed just a little more insight into what he was trying to do and why it had the effect that it did. Whilst he does acknowledge the furore of the foul language and brutal imagery within the Derek and Clive performances, there's very little of what Peter and Dudley themselves thought of them.

William Cook does not approach his subject with rose-tinted glasses - he does acknowledge Peter's failures as a writer and he makes a point of saying that some sketches could not be included specifically because they either did not work or only worked in a aural medium. This is to be commended and I do think that he's picked out some of the best of Peter Cook's work.

I don't think that this is a book that can (or should) be read through in one sitting. It's more something to dip in and out of and whilst there is certainly nothing wrong with that, people hoping for some insight into what Peter Cook was all about, may find that his work does nothing to solve the mystery.