S. J. Perelman: Wikis

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S. J. Perelman
Born February 1, 1904
Brooklyn, United States
Died October 17, 1979
New York City, United States
Occupation Author, screenwriter

Sidney Joseph Perelman, almost always known as S. J. Perelman (February 1, 1904 – October 17, 1979), was a Jewish-American humorist, author, and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, as well as books, scripts, and screenplays.

Contents

Life and career

In cinema, Perelman is noted for co-writing scripts for the Marx Brothers films Horse Feathers and Monkey Business and for the Academy Award-winning screenplay Around the World in Eighty Days.

With Ogden Nash he wrote the book for the musical One Touch of Venus (music by Kurt Weill, lyrics by Nash), which opened on Broadway in 1943 and ran for more than 500 performances. His play The Beauty Part (1962), which starred Bert Lahr in multiple roles, fared less well, its short run attributed at least in part to the accompanying 114-day 1962 New York City newspaper strike.

Perelman's work is difficult to characterize. He wrote many brief, humorous descriptions of his travels for various magazines, and of his travails on his Pennsylvania farm, all of which were collected into books. (A few were illustrated by caricaturist Al Hirschfeld, who accompanied Perelman on the round-the-world trip recounted in Westward Ha!) He also wrote numerous brief sketches for The New Yorker in a style that was unique to him. They were infused with a sense of ridicule, irony, and wryness and frequently used his own misadventures as their theme. Perelman chose to describe these pieces as feuilletons — a French literary term meaning "literary or scientific articles; serial stories" (literally "large leaves") — and he defined himself as a feuilletoniste. Perelman's only attempt at a conventional novel (Dawn Ginsbergh's Revenge) was unsuccessful, and throughout his life he was resentful that authors who wrote in the full-length form of novels received more literary respect (and financial success) than short-form authors like himself, although he openly admired his British rival, P.G. Wodehouse. While many believe Dawn Ginsbergh's Revenge to be a novel, it is actually his first collection of humorous pieces, many written while he was still a student at Brown. It is largely considered juvenilia and its pieces were never included in future Perelman collections.

The tone of Perelman's feuilletons, however, was very different from those sketches of the inept "little man" struggling to cope with life that James Thurber and other New Yorker writers of the era frequently produced. Yet his references to himself were typically wittily self-deprecatory—as for example, "before they made S. J. Perelman, they broke the mold." Although frequently fictional, very few of Perelman's sketches were precisely short stories.

Sometimes he would glean an apparently off-hand phrase from a newspaper article or magazine advertisement and then write a brief, satiric play or sketch inspired by that phrase. A typical example is his 1950s work, "No Starch in the Dhoti, S'il Vous Plait." Beginning with an off-hand phrase in a New York Times Magazine article ("...the late Pandit Motilal Nehru—who sent his laundry to Paris—the young Jawaharlal's British nurse etc. etc. ...), Perelman composed a series of imaginary letters that might have been exchanged in 1903 between an angry Pandit Nehru in India and a sly Parisian laundryman about the condition of his laundered underwear.

In other sketches, Perelman would satirize popular magazines or story genres of his day. In "Somewhere A Roscoe," he pokes fun at the "purple prose" writing style of 1930s pulp magazines such as Spicy Detective. In "Swing Out, Sweet Chariot," he examines the silliness of the "jive language" found in The Jitterbug, a teen magazine with stories inspired by the 1930s Swing dance craze. Perelman voraciously read magazines to find new material for his sketches. (He often referred to the magazines as "Sauce for the gander.")

Perelman also occasionally used a form of word play that was, apparently, unique to him. He would take a common word or phrase and change its meaning completely within the context of what he was writing, generally in the direction of the ridiculous. In Westward Ha!, for instance, he writes: "The homeward-bound Americans were as merry as grigs (the Southern Railway had considerately furnished a box of grigs for purposes of comparison) ... ". Another classic Perelman pun is "I've got Bright's Disease and he's got mine".

He also wrote a notable series of sketches called Cloudland Revisited in which he gives acid (and disillusioned) descriptions of recent viewings of movies (and recent re-readings of novels) which had enthralled him as a youth in Providence, Rhode Island, later as a student at Brown University, and then while a struggling comic artist in Greenwich Village.

A number of his works were set in Hollywood and in various places around the world. He stated that as a young man he was heavily influenced by James Joyce and Flann O'Brien, particularly his wordplay, obscure words and references, metaphors, irony, parody, paradox, symbols, free associations, non-sequiturs, and sense of the ridiculous. All these elements infused Perelman's own writings but his own style was precise, clear, and the very opposite of Joycean stream of consciousness. Perelman drily admitted to having been such a Ring Lardner thief that he should have been arrested. Woody Allen has in turn admitted to being influenced by Perelman and recently has written what can only be called tributes, in very much the same style. The two once happened to have dinner at the same restaurant, and when the elder humorist sent his compliments, the younger comedian mistook it for a joke. Authors that admired Perelman's ingenious style included T. S. Eliot and W. Somerset Maugham.

Perelman was indirectly responsible for the success of Joseph Heller's novel Catch-22. When first published, this novel received lukewarm reviews and indifferent sales. A few months later, Perelman was interviewed for a national publication. The interviewer asked Perelman if he had read anything funny lately. Perelman—a man not noted for generosity with his praise—went to considerable lengths to commend Catch-22. After the interview was published, sales of Heller's novel skyrocketed.

Perelman's personal life was difficult; his marriage to Nathanael West's sister Laura (née Lorraine Weinstein) was strained from the start because of his interminable affairs (notably with Leila Hadley), and Perelman was not much of a father. He generally regarded children as a nuisance, and his son Adam ended up in a reformatory for wayward boys. The two things that brought him happiness were his MG car and a mynah bird, both of which he pampered like babies. His Anglophilia turned rather sour when late in his life he (temporarily) relocated to England and actually had to socialize with the English themselves.[1]

Perelman picked up plenty of pungent expressions from Yiddish and liberally sprinkled his prose with these phrases, thus paving the way for the likes of Philip Roth. Both his surprisingly lackluster biography by Herrmann and the Selected Letters ("Don't Tread On Me", edited by Prudence Crowther) suffer from the fact that "Lotharian Sid's" erotic escapades and fantasies have been censored beyond recognition to protect certain individuals.

A British expert on comic writing, Frank Muir, lauded Perelman as the best American comic author of all time in his Oxford Book of Humorous Prose. Humorist Garrison Keillor has declared his admiration for Perelman's writing. [2] Keillor's 'Jack Schmidt, Arts Administrator' is a parody of Perelman's classic 'Farewell, My Lovely Appetizer',[3] itself a parody of the Raymond Chandler school of tough, amorous 'private-eye' crime fiction.

Bibliography

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Books by S.J. Perelman

  • Dawn Ginsbergh's Revenge
  • Strictly From Hunger
  • Look Who's Talking
  • The Dream Department
  • Crazy Like a Fox
  • Keep It Crisp
  • Acres and Pains
  • Westward Ha!
  • Listen to the Mockingbird
  • The Swiss Family Perelman
  • The Ill-Tempered Clavichord
  • Perelman's Home Companion
  • The Road to Miltown
  • The Most of S.J. Perelman (collection of re-printed pieces)
  • The Rising Gorge
  • The Beauty Part
  • Chicken Inspector No. 23
  • Baby, It's Cold Inside
  • Vinegar Puss
  • Eastward Ha!
  • The Last Laugh (posthumous collection)

Books about S.J. Perelman

  • Hermann, Dorothy. S. J. Perelman - A Life. G. P. Putnam's Sons, 1986. ISBN 039913154X
  • Crowther, Prudence. Don't Tread on Me : The Selected Letters of S.J. Perelman. Viking, 1987. ISBN 0670817597

Humor pieces

  • Perelman, S. J. (1 January 1949). "Stringing up Father". The New Yorker 24 (45): 16–17. 

References

  1. ^ Mitchell, Martha (1993). "Perelman, S.J.". Encyclopedia Brunoniana. Brown University. http://www.brown.edu/Administration/News_Bureau/Databases/Encyclopedia/search.php?serial=P0130. Retrieved 2008-03-15. 
  2. ^ Garrison Keillor. Happy to be Here. Faber, 1983. ISBN 0571146961
  3. ^ S. J. Perelman, Fiction, “Farewell, My Lovely Appetizer,” The New Yorker, December 16, 1944, p. 2. http://www.newyorker.com/archive/1944/12/16/1944_12_16_021_TNY_CARDS_000197922#ixzz0eXA9Wj50

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

Sidney Joseph Perelman (1904-02-011979-10-17) was an American humorist and writer for the stage and screen. His sketches for The New Yorker are considered classics of their kind. He co-wrote the screenplays for the Marx Brothers' Monkey Business and Horse Feathers, and for Around the World in Eighty Days.

Sourced

  • I have Bright's disease and he has mine.
    • A patient confronts his doctor, in a cartoon printed in Judge magazine (November 16, 1929)
  • "Great-grandfather died under strange circumstances. He opened a vein in his bath."
    "I never knew baths had veins," protested Gabrilowitsch."
    "I never knew his great-grandfather had a ba—" began Falcovsky derisively.
    • "The Idol's Eye", The Most of S. J. Perelman (1992) p. 32.
  • "Oh, son, I wish you hadn’t become a scenario writer!" she sniffled.
    "Aw, now, Moms," I comforted her, "it’s no worse than playing the piano in a call house."
    • "Strictly from Hunger", The Most of S. J. Perelman (1992) p. 45
  • The worst disgrace that can befall a producer is an unkind notice from a New York reviewer. When this happens, the producer becomes a pariah in Hollywood. He is shunned by his friends, thrown into bankruptcy, and like a Japanese electing hara-kiri, he commits suttee.
    • "Strictly from Hunger", The Most of S. J. Perelman (1992) p. 47
  • Only the scenario writers are exempt. These are tied between the tails of two spirited Caucasian ponies, which are then driven off in opposite directions. This custom is called "a conference".
    • "Strictly from Hunger", The Most of S. J. Perelman (1992) pp. 47-48
  • I guess I’m just an old mad scientist at bottom. Give me an underground laboratory, half a dozen atom-smashers, and a beautiful girl in a diaphanous veil waiting to be turned into a chimpanzee, and I care not who writes the nation’s laws.
    • "Captain Future, Block That Kick!", The Most of S. J. Perelman (1992) p. 71
  • In pulp fiction it is a rigid convention that the hero’s shoulders and the heroine’s balcon constantly threaten to burst their bonds, a possibility which keeps the audience in a state of tense expectancy. Unfortunately for the fans, however, recent tests reveal that the wisp of chiffon which stands between the publisher and the postal laws has the tensile strength of drop-forged steel.
    • "Captain Future, Block That Kick!", The Most of S. J. Perelman (1992) p. 72
  • Under a forehead roughly comparable to that of the Javanese or the Piltdown man are visible a pair of tiny pig eyes, lit up alternately by greed and concupiscence. His nose, broken in childhood by a self-inflicted blow with a hockey stick, has a prehensile tip, ever quick to smell out an insult; at the least suspicion of an affront, Perelman, who has the pride of a Spanish grandee, has been known to whip out his sword-cane and hide in the nearest closet.
    • The Best of S. J. Perelman, Introduction (1947)
    • The Introduction was written under the name "Sidney Namlerep".
  • Before they made S J Perelman they broke the mold.
    • The Best of S. J. Perelman, Introduction
  • [The waiters'] eyes sparkled and their pencils flew as she proceeded to eviscerate my wallet – paté, Whitstable oysters, a sole, and a favorite salad of the Nizam of Hyderabad made of shredded five-pound notes.
    • The Rising Gorge (1961) p. 13
  • Fate was dealing from the bottom of the deck.
    • The Rising Gorge (1961) p. 183
  • Button-cute, rapier-keen, wafer-thin and pauper-poor is S.J. Perelman, whose tall, stooping figure is better known to the twilit half-world of five continents than to Publishers' Row. That he possesses the power to become invisible to finance companies; that his laboratory is tooled up to manufacture Frankenstein-type monsters on an incredible scale; and that he owns one of the rare mouths in which butter has never melted are legends treasured by every schoolboy.
    • The Most of S. J. Perelman (1992) p. xii.

Criticism

  • From the moment I picked up your book until I laid it down, I was convulsed with laughter. Someday I intend reading it.
    • Groucho Marx on Perelman’s Dawn Ginsbergh’s Revenge (1928), quoted in Dorothy Herrmann S. J. Perelman: A Life (1986) p. 61.

External links

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