S. J. Perelman Criticism
S. J. Perelman (1904–1979) stands as a celebrated figure in American humor, renowned for his long-standing contributions to The New Yorker and his profound impact on comedy. His work is known for its whimsical sketches that highlight the absurdities and pretensions of human nature through a unique blend of wit and satire. Although primarily working within the sketch format, Perelman's pieces are lauded for their intricate scenarios and are celebrated for their humor and literary craftsmanship. Critics, such as Horace Sutton and Melvin Maddocks, have praised his deceptive and impactful humor, which often surprises with complex language and surrealist elements.
Perelman's major collections, such as Strictly from Hunger and The Dream Department, showcase his ability to satirize popular culture and everyday life through clever titles and humorous narratives. Despite critiques that his work sometimes lacked deeper insights, his imaginative and linguistically rich humor has gained enduring admiration. Eudora Welty noted Perelman's mastery of language and character creation, allowing him to critique the absurdities of modern life with unparalleled wit.
His contribution to comedy extends beyond the written word, as evidenced by his notable Hollywood screenplays such as Monkey Business and his work on Around the World in Eighty Days. These ventures solidified his reputation in both literary and entertainment industries. Perelman's acclaim is underscored by his receipt of a special National Book Award in 1978 for his contribution to American letters. Critics like Richard Freedman have noted the resonant quality of his work despite evolving comedic trends, with The Last Laugh serving as a cherished addition to his oeuvre posthumously.
Perelman's influence on comedy is profound, affecting writers and humorists alike. Paul Theroux praised him as a shaping force in comedy, while Woody Allen described his influence on both comic and karmic novelists following World War II. His use of esoteric references, while occasionally challenging his audience, has been highlighted by critics like Barry Fantoni as placing him among the most complete of American humorists. Moreover, John Hollander contends that Perelman's work, often mistaken for surrealism, draws inspiration from James Joyce's 'Circe' episode in Ulysses, contributing significantly to the evolution of American fiction.
In essence, Perelman's sharp wit and skillful parody, as highlighted by Benny Green, allowed him to spotlight the nonsensical and clichéd aspects of contemporary life. His essays are notable for their captivating introductions, reflecting his meticulous craftsmanship and skill, as observed by Caskie Stinnett. Celebrated as a "living national treasure" by Eudora Welty, Perelman's incisive parody and wit continue to affirm his enduring legacy in American letters.
Contents
- Principal Works
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Perelman, S(idney) J(oseph) (Vol. 23)
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The New Books: 'Parlor, Bedlam, and Bath'
(summary)
The critic praises S. J. Perelman's book "Parlor, Bedlam and Bath" as an original and intelligent work of humor, noting its allusive and urban style reminiscent of prominent humorists, while highlighting its wit and relevance to contemporary audiences despite its potential future obscurity.
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Strictly Perelman
(summary)
In the following essay, Eudora Welty examines S. J. Perelman's satirical prose, highlighting its complexity and unique style, and argues that despite perceptions of diminished vigor, Perelman's work remains vibrant and impactful in its critique of familiar cultural phenomena.
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Durante of Discourse
(summary)
In the following essay, Horace Sutton characterizes S. J. Perelman's humor as a deceptive and impactful style that leads readers through seemingly simple narratives only to surprise them with complex language and incisive wit, likening his subtle comedic approach to the disarming effects of multiple martinis.
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High Jinks Travelogue
(summary)
In the following essay, Eudora Welty critiques S. J. Perelman's prose in "Westward Ha!: Around the World in 80 Cliches" for losing its charm when extended over a lengthy travel narrative, suggesting that Perelman's characteristic wit and precision are diluted under the constraints of a sustained story.
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Humor Takes in Many Things
(summary)
In the following essay, Dorothy Parker praises S. J. Perelman as a unique and courageous humorist whose latest work, "The Road to Miltown," exemplifies his unmatched ability to critique society with wit and intellectual depth.
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Philosophic Lunacy
(summary)
In the following essay, Steve Allen argues that S. J. Perelman's "The Road to Miltown" exemplifies his unparalleled comedic genius, likening his work to a machine-like precision that humorously extends cultural absurdities to their extreme, blending literary clichés with both understated and overstated humor.
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Wizard of Disenchantment
(summary)
In the following essay, Burling Lowrey examines S. J. Perelman's wit and biting prose style, highlighting both the strengths and occasional shortcomings of his satirical and parodic sketches in the collection "The Rising Gorge," ultimately portraying Perelman as a rational humorist in a disjointed world.
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Gagman Extraordinary
(summary)
In the following essay, the critic examines S. J. Perelman's comedic writing style in The Rising Gorge, suggesting that while his work demonstrates high-spirited and imaginative qualities akin to Thurber, it often lacks depth and a sense of authorial presence, reducing its effectiveness to mere gagmanship rather than sustained humor.
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The Cream Pie of the Jest
(summary)
In the following essay, Melvin Maddocks evaluates S. J. Perelman's humor, emphasizing his unique "sportive essay" style characterized by delayed verbal wit and surrealist elements, rather than traditional satire, to depict the world's inherent madness.
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S. J. Perelman Should Be Declared a Living National Treasure
(summary)
In the following essay, Eudora Welty advocates for recognizing S. J. Perelman as a "living national treasure," praising his incisive parody and wit in "Baby, It's Cold Inside," while lamenting the declining value of language and the challenges facing parody in contemporary culture.
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Last of the Classy American Humorists
(summary)
In the following essay, Richard Freedman assesses S. J. Perelman as a humorist whose work remains witty and stylistically vibrant, yet notes that his comedic style feels somewhat outdated and strained compared to more contemporary humor trends.
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The Exploits of El Sid
(summary)
In the following essay, Tom Wolfe contends that S. J. Perelman's posthumously published autobiography chapters, blending his signature style with actual characters and situations, mark a significant evolution in his writing, revealing his latent potential as a satirist despite maintaining a certain distance from the reader.
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The Wizard of Wit
(summary)
In the following essay, Henry Mitchell discusses the unique style and reception of S. J. Perelman's work, emphasizing his inventive language, abrupt stylistic shifts, and superficial sparkle, while comparing him to Petronius and suggesting that Perelman's writing, though brilliant and witty, may not endure beyond his own era.
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Literate Wit
(summary)
In the following essay, Rosen posits that S. J. Perelman's work, exemplified in The Last Laugh, blends literary finesse with humor, though it sometimes falters in modern relevance and depiction of women, while ultimately maintaining a narrative-driven wit superior to contemporary humorists reliant on linguistic simplicity.
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No Need for Names
(summary)
In the following essay, Wilfrid Sheed argues that S. J. Perelman's earlier work, particularly in "Crazy Like a Fox," is superior to his later writings, suggesting that Perelman's comedic style had intrinsic limitations which led to a perceived decline and eventual shift towards less successful autobiographical essays.
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The Comedy of Calamity
(summary)
In the following essay, Philip French critiques S. J. Perelman's inflexible comedic style, noting his reliance on fictionalized travel experiences, his influence on modern humorists, and the characteristic use of obscure language in his work, as exemplified by his book The Last Laugh.
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The New Books: 'Parlor, Bedlam, and Bath'
(summary)
- Perelman, S(idney) J(oseph) (Vol. 5)
- Perelman, S(idney) J(oseph) (Vol. 9)
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Perelman, S(idney) J(oseph) (Vol. 15)
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Indigestible
(summary)
In the following essay, Benny Green critiques S. J. Perelman as a satirist who thrives on parodying mundane and clichéd writing, arguing that Perelman's genius lies in his ability to highlight and humorously dissect the absurdities of his subjects through a vast array of literary allusions.
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Perelman Power
(summary)
In the following essay, Barry Fantoni argues that S. J. Perelman's humor, characterized by its linguistic precision and irreverence, places him as the most complete among American humorists, although his fondness for esoteric references may challenge some readers.
- Russell Davies
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Perelman's Revenge or the Gifts of Providence, Rhode Island
(summary)
In the following essay, Woody Allen discusses the profound influence of S. J. Perelman's light and impactful comic style on young writers, noting its irresistible and pervasive effect.
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Perelman's Revenge or the Gift of Providence, Rhode Island
(summary)
In the following essay, Caskie Stinnett contends that S. J. Perelman's essays are marked by their exceptional introductions, which are crafted to captivate the reader through an intriguing and often absurd opening, showcasing meticulous craftsmanship and a high level of skill in their construction.
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Perelman's Revenge or the Gift of Providence, Rhode Island
(summary)
In the following essay, John Hollander contends that S. J. Perelman's work, often misunderstood as surrealist, is instead influenced by James Joyce's 'Circe' episode from Ulysses, contributing significantly to American fiction through his transformative vision and impact on both comic and karmic novelists after World War II.
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Indigestible
(summary)
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The Kangaroo Mind of S. J. Perelman
(summary)
In the following essay, Louis Hasley explores S. J. Perelman's unique humor and surrealist style, highlighting his use of sophisticated satire and playful absurdity while critiquing the thinness of substance in his work, which may threaten its lasting impact despite his celebrated wit and originality.
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Perelman, S(idney) J(oseph)
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Review of Strictly from Hunger
(summary)
In the following review, the critic notes Perelman's wit, and places him among the top of American humorists.
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S. J. Perelman's Unlikely Statements
(summary)
In the following review, Sherman discusses the subject matter of The Dream Department, and describes the volume as "lunatic and delightful."
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Review of The Dream Department
(summary)
In the following review, the unsigned critic recounts Perelman's life and brand of humor. S. J. Perelman picks up business where he left off with Look Who's Talking. One passage should suffice to give traffic signals to such readers as remain unfamiliar with Perelman's work. The passage was inspired by a notice to the effect that moving pictures would be used for department-store advertising. The title is Kitchenware, Notions, Lights, Action, Camera!
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Strictly Perelman
(summary)
In the following review, Welty positively assesses the satire, parody, and wordplay of Perelman's Crazy Like a Fox.
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Perelman Carries the Nation
(summary)
In the following review of Crazy Like a Fox, Sugrue characterizes Perelman as "the funniest man in America."
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From Park Avenue to Opium Den
(summary)
In the following review, Maloney studies Perelman's Keep It Crisp, calling the book 'superb.'
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Perelman on the Loose Again
(summary)
In the following review of Listen to the Mocking Bird, Gilroy describes Perelman the critic, the world traveler, and the satirist.
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Review of Parlor, Bedlam and Bath
(summary)
In the following laudatory review, the unsigned critic examines Perelman's humorous narratives. In Parlor, Bedlam and Bath the Messrs. Perelman and [Q. J.] Reynolds have collaborated in an amusing and at times genuinely hilarious burlesque. The bad pun of the novel's title is no index to the nonsense in the bulk of the written matter. With a shaky skeleton of a narrative, the authors have dedicated themselves to the sole purpose of being entertaining and they have succeeded brilliantly.
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Perelman in Tune
(summary)
In the following review of The Ill-Tempered Clavichord, Robinson mentions the usual targets of Perelman's satirical wit.
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Thirty-six by Perelman, And All Under One Roof
(summary)
In the following review, Kupferberg calls Perelman's Home Companion, "a quintessence of Perelman." He discusses the confusion surrounding the title and suggests that while Perelman may not find the tales as funny as unprepared readers do, the book is enjoyable in various settings.
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Humor Takes in Many Things
(summary)
In the following review of The Road to Miltown, Parker proclaims "Mr. Perelman stands alone in this day of humorists."
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'You Mustn't Say Things Like That'
(summary)
In the following excerpted review, Gibson lauds Perelman as a humorist skilled in the use of language, but not as a great writer.
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S. J. Perelman's The Most of S. J. Perelman; Baby, It's Cold Inside
(summary)
In the following reviews, Eudora Welty appreciates S. J. Perelman's wit, character creation, and linguistic mastery as demonstrated in his works "The Most of S. J. Perelman" and "Baby, It's Cold Inside," highlighting his ability to humorously critique the absurdities of language misuse and the challenges this poses for modern parody.
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S. J. Perelman, I Presume
(summary)
In the following review of The Rising Gorge, Flanders comments on the richness of Perelman's humor.
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Review of The Rising Gorge
(summary)
In the following review, the critic observes that Perelman's jokes, while "imaginative and versatile," on occasion fail, becoming little more than mechanical gags.
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The Art of Fiction: S. J. Perelman
(summary)
In the following interview, S. J. Perelman, with William Cole and George Plimpton, discusses his writing process, the influences on his work, his views on the evolving landscape of humor writing, and his reflections on being a writer versus a humorist, highlighting the complexities and challenges of his craft.
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The Sane Psychoses of S. J. Perelman
(summary)
In the following essay, Yates characterizes Perelman's fictional narrators—types of the literary Little Man—as 'sane psychotics.'
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Review of Chicken Inspector No. 23
(summary)
In the following review, the unsigned critic remarks that the pieces in Perelman's Chicken Inspector No. 23 are "as furiously and fluently disenchanted as ever."
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Last of the Classy American Humorists
(summary)
In the following review of Baby, It's Cold Inside, Freedman finds Perelman's humor, though funny, largely reminiscent of a bygone era.
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Review of Baby, It's Cold Inside
(summary)
In the following review, Nordell comments on the 'verbal vaudeville' of Perelman's writing, noting that publishing this book in 1970 is casting Perelman before swine, as the world has changed more than Perelman has.
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Meisterzinger
(summary)
In the following review of Baby, It's Cold Inside, Kanfer comments on Perelman's influences and literary influence, as well as the aim of his humor.
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Marxist
(summary)
In the following review of Vinegar Puss, Theroux calls Perelman 'a shaping force of comedy' and offers the book high praise.
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No Buff for the Briefalo
(summary)
In the following review of Eastward Ha!, Theroux examines some of the objects of Perelman's travel satire and calls the humorist "incomparable."
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Separating the Chypre from the Ghosts
(summary)
In the following review of Eastward Ha!, Wood recounts Perelman's skill at pun and wordplay and offers many examples of his wit.
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Perelman Power
(summary)
In the following review of The Most of S. J. Perelman and Eastward Ha!, Fantoni writes approvingly of Perelman's humorous use of language.
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Inimitable Perelman
(summary)
In the following review of The Last Laugh, Brickman observes of Perelman, "his genius defies criticism."
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Farewell, Vinegar Puss
(summary)
In the following review of The Last Laugh, Teachout finds Perelman's collection lacking the energy and balance of some of his earlier works.
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S. J. Perelman: A Basket of Grovels
(summary)
In the following review of The Last Laugh, originally published in 1981, Sheed examines the ingredients of Perelman's humor, but remarks that this volume lacks some of the vigor of Perelman's earlier work.
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The First Laugh
(summary)
In the following review, Crowther surveys the stories of That Old Gang O' Mine: The Early and Essential S. J. Perelman.
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Themes and Techniques
(summary)
In the following essay, Gale studies Perelman's subject matter and comic style.
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Review of Strictly from Hunger
(summary)
- Further Reading