S. J. Perelman

S. J. Perelman – Life, Wit, and Literary Legacy

S. J. Perelman (1904–1979) was a master American humorist, satirist, and screenwriter best known for his New Yorker sketches and witty prose. Explore his biography, writing style, major works, and memorable quotes.

Introduction

Sidney Joseph “S. J.” Perelman (February 1, 1904 – October 17, 1979) was a uniquely skilled American humorist, writer, and screenwriter whose cleverness, wordplay, and satirical sensibility made him a singular voice in 20th-century letters.
He is especially well known for his short humorous pieces in The New Yorker, for collaborating on Marx Brothers screenplays, and for his playful, ironic, richly allusive prose.

Perelman’s work continues to influence humorists, later writers, and those who delight in intricacies of language, parody, and the subversion of cliché.

Early Life and Family

S. J. Perelman was born in Brooklyn, New York, to Joseph and Sophie Perelman, but during his youth the family moved to Providence, Rhode Island.
His parents apparently struggled with business ventures, moving from one failed endeavor to another before running a dry goods store and even raising chickens in Providence.

He attended Candace Street Grammar School and Classical High School in Providence.

In 1921, he entered Brown University, where he became editor of the campus humor magazine The Brown Jug around 1924.
However, he did not complete his degree.

His formative years included reading widely—both “trash” and serious literature—and tinkering with language and satire, which would come to define his style.

Career and Achievements

Early Writing, The New Yorker, and Feuilletons

After leaving Brown, Perelman migrated to Greenwich Village in New York City, immersing himself in literary and bohemian circles.

He began contributing humorous sketches, parodies, and short pieces (which he often called feuilletons) to The New Yorker and other magazines.
These short works were known for their tight wit, inventive wordplay, sudden shifts, and mocking of clichés and sentimentality.

He consistently employed parody, irony, satire, and a self-deprecating voice.

Throughout decades, his New Yorker pieces accrued in the hundreds, establishing him as a mainstay of that magazine’s humor pages.

Broadway, Plays, and Collaborations

Perelman also ventured into Broadway. From 1932 to 1963, he had at least five plays produced, often collaborating with his wife, Laura West.
Among them was Walk a Little Faster (1932).
One significant collaboration was with Ogden Nash on One Touch of Venus (music by Kurt Weill), which opened in 1943.
His final Broadway play, The Beauty Part (1962), had a brief run and faced difficulties (e.g. the newspaper strike) affecting reception.

Screenwriting & Film

Perelman’s cinematic credits are notable especially for his work with the Marx Brothers. He co-wrote (or contributed to) Monkey Business (1931) and Horse Feathers (1932).
Over time, he and Laura West were under contract to MGM, doing both credited and uncredited work (e.g. Sweethearts (1938)).
One of his great achievements was co-writing the screenplay Around the World in 80 Days (1956), for which he won an Academy Award.

Other film credits include Larceny, Inc. (1942), One Touch of Venus (film version) (1948), and contributions to Aladdin (1958) (television version).

Literary Output & Style

Beyond periodical pieces and screenplays, Perelman published numerous collections of his short humor pieces and essays. Some key titles:

• Strictly from Hunger (1937)

• Crazy Like a Fox (1944)

• Acres and Pains (1947)

• Westward Ha! (1948)

• The Most of S. J. Perelman (a collection)

His pieces often blend travel, cultural observations, self-deprecation, parody of genres, and sharp digressions.

Notably, he claimed a kind of tension between short form and literary respect: while he was widely admired for his short pieces, he resented that novelists received more esteem in the literary world.

Influence & Cultural Role

Perelman is considered among the first uniquely American surrealist humorists, combining highbrow and low references.
One cultural anecdote: when his praise helped boost Catch-22 by Joseph Heller. Perelman was interviewed and asked whether he'd read anything funny lately—he praised Catch-22, and that publicity helped the novel’s sales.
His use of Yiddish-inflected idioms and neologisms enriched American comedic prose.
Woody Allen has acknowledged Perelman’s influence; Garrison Keillor also praised him.

Personality, Relationships & Later Years

In 1929, at age 25, he married Laura West (née Lorraine Weinstein), the younger sister of Nathanael West.
They collaborated on writing projects, particularly during their time at MGM.
Laura died in 1970; Perelman never remarried.

Their marriage was reportedly fraught with tension, partly because Perelman had multiple affairs.
They had two children; one of them, Adam, had troubled episodes in adulthood, including legal problems.

Perelman owned an 83-acre property in Erwinna, Pennsylvania, which provided a rural contrast to his urban life and featured in his writing.
He also cherished a mynah bird and an MG automobile, treating them with affectionate attention.

Late in life he spent time in England but eventually moved back to New York in 1972, concluding that English life, while genteel, was “a bit bland.”

He died in New York City on October 17, 1979, aged 75.

Famous Quotes of S. J. Perelman

Perelman’s wit is perhaps best preserved through his memorable lines. Here are several:

“The main obligation is to amuse yourself.”
“Love is not the dying moan of a distant violin … it’s the triumphant twang of a bedspring.”
“If, at the close of business each evening, I myself can understand what I’ve written, I feel the day hasn’t been totally wasted.”
“The worst disgrace that can befall a producer is an unkind notice from a New York reviewer … like a Japanese electing hara-kiri, he commits suttee.”
“I have Bright’s disease and he has mine.”

These lines reflect his tendency to combine sharpness, paradox, and absurdity in compact form.

Lessons from S. J. Perelman

1. Brevity with richness
   Perelman showed how short pieces, when densely written, can deliver more impact than lengthier works.

2. Parody and genre awareness
   He was a master at recognizing tropes, clichés, and genres to subvert them creatively.

3. Playfulness with language
   He transformed familiar idioms and expressions, twisting them into comedic surprises.

4. Self-awareness & wit under pressure
   His self-deprecating tone, even when satirical or biting, kept the reader’s sympathy.

5. Crossing media boundaries
   He moved across magazines, theater, and film while retaining his voice — showing flexibility is compatible with identity.

Legacy and Influence

• Perelman’s work remains a reference point in studies of American humor, satire, and wordcraft.

• Humorists and writers continue to cite him as an exemplar of verbal dexterity.

• His impact on The New Yorker tradition of short humor helped define an enduring mode of American literary comedy.

• His blending of high and low culture (literary allusion + pop culture) paved paths for later satirists.

• The Library of America published collections of his writing, ensuring continuing access and recognition.

Conclusion

S. J. Perelman stands as a luminous figure in 20th-century American humor — a writer who turned satire, parody, irony, and playful malice into art. His short pieces, scripts, and essays showcase a mind deeply engaged with language and culture, and his voice continues to inspire those who seek to write with both laughter and intelligence.