43 pages • 1-hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Hyperbole, or exaggeration, pervades Kaling’s work. The writer uses exaggerated statements and descriptions to amplify the comedic styling of the work and to emphasize contrast. Hyperbole works as a comedic technique because it can create a light-hearted tone while challenging one’s expectations. The opening line of Chapter 31 illustrates simple hyperbole: “I would rather have someone read my diary than look at my iPod playlists” (198). Kaling also uses hyperbole in larger ways by exaggerating her weight and nerdiness as a child, her obsession with dieting, and the revenge fantasies she uses to motivate her workout routines.
Juxtaposition is an important literary device in both fiction and nonfiction. By placing two characters or concepts side-by-side, the writer draws attention to their differences. Kaling uses juxtaposition in numerous ways to increase the comedic value of her work and to emphasize themes.
For example, Kaling details her experiences in Pursuing a Career in Film Media. She shows her readers that working hard and studying can have its advantages in an otherwise glamorous and shallow world. Maintaining this work ethic requires a willingness to diverge from the status quo. In Part 1, the writer juxtaposes conformity and authenticity. As a child, Kaling had a friend group with whom she had little in common. She places this friend group next to another friend named Mavis, with whom Kaling shared a love of comedy. The juxtaposition of these friendships reveals the importance of Kaling’s decision to follow an authentic path, eschewing popularity for a more quiet devotion to her true personal interests.
When paired with hyperbole, juxtaposition can have a stronger comedic effect. In Chapter 26, Kaling exaggerates the qualities of men versus boys. Men, she explains, are responsible and committed, but boys are chaotic and fun: “Boys bring a knapsack to work. Boys get haircuts from their roommate, who ‘totally knows how to cut hair’” (178). By exaggerating the features of the two categories and placing them side-by-side, Kaling further emphasizes their differences and enhances the comedic power of the chapter.
Although not a traditional literary device, listing is a popular tool in comedic writing and one that Kaling employs often throughout the work. Many of the chapters are structured as lists, but Kaling also uses smaller lists to amplify the comedic tone of the book.
For example, in Chapter 11, Kaling provides a list of female tropes in film and television. A list like the one presented in this chapter allows Kaling to move from one topic to the next quickly, maintaining a fast-paced momentum and offering rapid-fire jokes about each category. Kaling structures chapters around films she would like to reboot, her favorite comedic performances, advice for men, and instructions for the planning of her funeral.
The writer also incorporates lists into other chapters for comedic effect. In Chapter 12, Kaling distinguishes between her own character and Kelly Kapoor, the character she portrayed on the hit television show The Office. For example, Kelly would text in the shower, drive away from a car accident, and write a mean letter to Sheryl Crow—all activities Mindy Kaling would never participate in. Kaling partners listing with both hyperbole and juxtaposition in this section by then listing activities that both she and her character would take part in, including their shared willingness to “fake our own deaths to catch a serial killer” (105).
The use of listing closely mirrors the process of writing in a television writer’s room. In the process of writing a show like The Office, writers pitch ideas in a rapid-fire session. This can also occur on sets where improvisation is encouraged. Writers may watch actors in a scene and then throw out ideas for lines in the moment. The memoir’s lists reflect Kaling’s background as a television writer, allowing her to introduce numerous jokes in quick succession.



Unlock all 43 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.