If I Don't Write It Nobody Else Will (Hardcover)

It has to be said, however, that the book is thinner (if that's what you're looking for) on comic (or personal analysis), but perhaps that's appropriate: he once talked in an interview of having to reassure a puzzled and angry Tommy Cooper that he shouldn't try to pull apart his gift but simply be grateful; and as Sykes has, in any case, already written elsewhere about his own comedy heroes, it's not too difficult to sit back and accept this book for what it is. What comes over when watching the Sykes sitcom is the warmth of the perormers and that is faithfully conveyed here.

Read Graham McCann's biography of Frankie Howerd if you want a more detailed account of the innovation that Sykes' scripts represented, or try David Nathan's The Laughtermakers (long out of print) for material about Sykes. Or just watch The Plank (with Sykes and the instinctive Cooper) and marvel - probably the wisest course of action.

Dividing effectively into three sections; his pre-war upbringing in Oldham, his wartime army career and the post-war break via repertory into a career in writing and comedic performance, it almost evokes a feeling of having been written by three different authors. For me, the first section is by far the best. This provides a wonderfully evocative description of 1930’s northern childhood and a window onto far simpler times. It also seems to provide the greatest insight into Sykes’ personality, albeit mainly by inference.

Where the book moves on from his childhood, there seems to be a problem; having joined the army, the naïve unworldly youth somehow seems to metamorphosize into a jack the lad character, involved in all sorts of shady scrapes culminating in his recruitment to the concert party on the back of a series of bare faced lies. Whilst there’s no disputing that this is how things actually happened, the text provides little or no analysis of how such a change was brought about in this callow lad or indeed what engendered such a desire for a theatrical career that he was driven to such transparent untruthfulness.

Where Sykes deals with his subsequent career, which constitutes the bulk of the book, the lack of self-analysis or contextualisation of events runs rampant and is accompanied by a puzzling choice of balance in discussing different subjects. Hence, an anecdote about a parking ticket being waived occupies similar space to references about Hattie Jacques, whom he describes as “like a sister”. Potentially major characters with whom Sykes has worked, such as Frankie Howerd or Tommy Cooper, are frequently described merely as “mates” or “friends” rather than being subjected to any deeper character analysis or insight. He talks about his love of Rhodesia and frequent visits to the country during the 60’s, but any press comment on this is treated merely as a personal affront rather than offering any acknowledgement of the overall political context. Where there are disputes with colleagues or producers, there seem to be only two opinions – his and the wrong one. Perhaps worst of all, there is no clear sequencing or chronology for this part of the book and it is subsequently difficult or impossible to tell whether given events are happening now or ten or twenty years ago.

Overall, there is a lot of fascinating information here, the book is written in a very readable style and Eric Sykes comes across as a likeable and talented comedy writer who made a huge contribution to post-war light entertainment but has, perhaps, been by-passed by his own industry. Ultimately, however, the book largely fails as an autobiography due to its lack of candour and rigour. Maybe it is time for someone else to do it.