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Additionally, the author discusses how Do’s use of humor in his life narrative negotiates model-minority expectations leveled against Asian Australians to turn, in a subtle way, what appears to be a joke on him into a joke about the audience.ġ9 Graham, “Alice Pung’s Growing Up,” 72.Ģ4 McCallum, “Cringe and Strut,” 210–214.Ģ8 Gilmore, “Limit Cases,” 131 Tainted Witness, 83–95.ģ1 Gadsby, Nanette Ryzik, “Comedy-Destroying.”ģ3 Luckhurst and Rae, “Diversity Agendas.”ģ5 Luckhurst and Rae, “Diversity Agendas.”ģ7 Gilmore, The Limits of Autobiography, 22–23.Ĥ1 Tumarkin, “Stories without Borders,” 29 Do, The Happiest Refugee, 182.Ĥ4 Eakin, “Self and Self-Representation,” 12. Find helpful customer reviews and review ratings for The Happiest Refugee: A Memoir at. The author argues that Do’s self-deprecating humor smuggles trauma to Australian audiences through laughs, and she explores the ambiguity in Do’s ability to occupy opposing identities of the “Other” and the “Aussie kid|bogan” simultaneously. This essay examines how Do’s style of self-deprecating comedy extends from his stand-up comedy to his national bestselling memoir The Happiest Refugee (2010). Vietnamese Australian Anh Do is one of Australia’s most famous migrant comedians and performs self-deprecating humor while drawing on sometimes traumatic experiences from his personal life as part of his stand-up comedy sets. Self-deprecating humor, the comedic act of making oneself the butt of the joke, is a staple of the Australian comedy industry and part of Australia’s national self-concept.